The museum building is highly regarded by architects,[6] the original building, designed by Paul Philippe Cret, is flanked by north and south wings with the white marble as the main exterior material for the entire structure. The campus is part of the city's Cultural Center Historic District listed in the National Register of Historic Places. The museum's first painting was donated in 1883 and its collection consists of over 65,000 works, with about 677,500 visitors annually for 2015, the DIA is among the most visited art museums in the world.[1][7] The Detroit Institute of Arts hosts major art exhibitions; it contains a 1,150-seat theatre designed by architect C. Howard Crane, a 380-seat hall for recitals and lectures, an art reference library, and a conservation services laboratory.[1]

In addition to the American and European works listed above, the collections of the Detroit Institute of Arts are generally encyclopedic and extensive, including ancient Greek, Roman, Etruscan, Mesopotamian, and Egyptian material, as well as a wide range of Islamic, African and Asian art of all media.

In December 2010, the museum debuted a new permanent gallery with special collections of hand, shadow, and string puppets along with programmable lighting and original backgrounds, the museum plans to feature puppet related events and rotation of exhibits drawn from its puppet collections.[8]

Artists’ Take on Detroit: Projects for the Tricentennial (October 19, 2001 – December 28, 2001) This exhibit celebrates Detroit’s 300th year anniversary by creating 10 projects that represent the city. The installations created by 15 artists include video and still photography, text and sound, and sculptures, this exhibit includes the following: Altar Mary by Petah Coyne, Strange Früt: Rock Apocrypha by Destroy All Monsters Collective, Traces of Then and Now by Lorella Di Cintio and Jonsara Ruth, Fast Forward, Play Back by Ronit Eisenbach and Peter Sparling, Riches of Detroit: Faces of Detroit by Deborah Grotfeldt and Tricia Ward, Open House by Tyree Guyton, A Persistence of Memory by Michael Hall, Relics by Scott Hocking and Clinton Snider, Blackout by Mike Kelley, Voyageurs by Joseph Wesner [9]

Art in Focus: Celadons (January 16-April 14) Green-glazed ceramics, also known as celadon ware, created by Suzuki Sansei are on display in each of the Asian galleries. [10]

Over the Line: The Art and Life of Jacob Lawrence (February 24, 2002 – May 19, 2002) The exhibit contains work of the African American artist Jacob Lawrence (1917-2000), and includes never before seen pieces from the Migration and the John Brown series. [11][12]

Degas and the Dance (October 20, 2002 - January 12, 2003) This exhibit includes more than 100 pieces of work created by Edgar Degas. These pieces include model stage sets, costume designs, and photographs of the dancers from the 19th-century Parisian ballet. [13]

Magnificenza! The Medici, Michelangelo and The Art of Late Renaissance Florence (March 16, 2003- June 8, 2003) The exhibit displays art of the cultural successes of the first four Medici grand dukes of Tuscany during 1537-1631, along with their connection with Michelangelo and his art in the Late Renaissance Florence. [14]

When Tradition Changed: Modernist Masterpieces at the DIA (June, 2003- August, 2003) This exhibit only contains pieces from the DIA’s collection from the late 19th-century and early 20th-century and displays the different choices artists expressed themselves after 1900. [15]

Then and Now: A selection of 19th- and 20th-Century Art by African American Artists (July, 2003-August, 2003) Roughly 40 objects in this exhibit, organized by the General Motors Center for African American Art, display the artistic styles of African American artists during the past two hundred years. This exhibit includes work from Joshua Johnson, Robert Scott Duncanson, Henry Ossawa Tanner, Augusta Savage, Benny Andrews, Betye Saar, Richard Hunt, Sam Gilliam, and Lorna Simpson. Allie McGhee, Naomi Dickerson, Lester Johnson, Shirley Woodson, and Charles McGee are some of the Detroit artists that were included in the installation. [16]

Art in Focus: Buddhist Sculpture (Through July 14, 2003) This exhibit contains one Buddhist sculpture in each of the Asian galleries. These sculptures symbolize enlightenment, selflessness, wisdom and tranquility. [17]

Yoko Ono’s Freight Train (September 17, 2003- July 19, 2005) Freight Train, constructed by Yoko Ono in 1999, is a German boxcar with bullet holes and is set on a section of railroad track displayed outdoors. [18][19]

Style of the Century: Selected Works from the DIA’s Collection (Through October 27, 2003) [21]

Some Fluxus: From the Gilbert and Lila Silverman Fluxus Collection Foundation (Through October 28, 2008) The exhibit contains works from the Fluxus group, named by artist and provocateur George Maciunas. [22]

Dance of the Forest Spirits: A Set of Native American Masks at the DIA (Through October 6, 2003) Wooden masks made in the 1940s to represent the spirit world made by the Kwakwaka’wakw (Native Americans of the Northwest coast) are displayed in the exhibit, along with interactive videos, listening stations, and computer activities. [23]

Dawoud Bey: Detroit Portraits (April 4, 2004 – August 1, 2004) Dawoud Bey’s work created during a five-week residency at Chadsey High School includes large-format, color photographic portraits along with a video of students from Chadsey High School is displayed in this exhibit. Selected artwork of students from writing and art workshops that are conducted by Bey and the art faculty at Chadsey and conduct discussion will also be displayed. [24]

Pursuits and Pleasures: Baroque Paintings from the Detroit Institute of Arts (April 10, 2004 – July 4, 2004) Pieces of work by Albert Cuyp, Giovanni Paolo Panini, Jacob van Ruisdael, Mathieu le Nain, Claude Lorrain, Gerard Ter Borch, Frans Snyders, and Thomas Gainsborough are displayed in this exhibit, organized by the Kresge Art Museum, the Dennos Museum Center, the Kalamazoo Institute of Arts, and the Muskegon Museum of Art, along with the Detroit Institute of Arts. [25]

The Etching Revival in Europe: Late Nineteenth- and Early- Twentieth Century French and British Prints (May 26, 2004 – September 19, 2004) Examples of etching work of James McNeill Whistler, Francis Seymour Haden, Charles Meryon, Edouard Manet, Jean François Millet, and Frank Brangwyn are displayed in this exhibit. [26]

The Photography of Charles Sheeler: American Modernist (September 8, 2004 – December 5, 2004) Prints from Charles Sheeler’s major series are displayed in this exhibit, including images of his house and barns in Doylestown, Pennsylvania captured in 1916 and 1917; stills from the 1920 film Manhatta; photographs of Chartres Cathedral taken in 1929; and images of American industry created in the 1930s for Fortune magazine. Also displayed are Sheeler’s views from the Ford Motor Company’s River Rouge complex commissioned by Edsel Ford in 1927. [27]

Sixty-Eighth Annual Detroit Public Schools Student Exhibitions (April 9, 2005 – May 14, 2005) Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA. This exhibit contains hundreds of ceramics, paintings, drawings, sculptures, and videos. [31]

Camille Claudel and Rodin: Fateful Encounter (October 9, 2005 – February 5, 2006) The exhibit contains work by Auguste Rodin and Camille Claude. Sixty-two sculptures by Claudel and fifty-eight by Rodin created before the two artists met along with sculptures created during the good and bad years of their relationship are displayed, some works created by Claudel that will be displayed include Sakuntala, The Waltz, La Petite Châtelain, The Age of Maturity, The Wave, and Vertumnus and Pomona. Works of Rodin that will be displayed include Bust of Camille Claudel, Saint John the Baptist Preaching, Balzac, and The Gates of Hell. [32]

African American Art from the Walter O. Evans Collection (April 9, 2006 – July 2, 2006) Selected pieces in various media from Walter O. Evan’s private collection will be displayed in the exhibit. Work by African American artists during the 19th and 20th centuries including Henry Ossawa Tanner, Edmonia Lewis, Elizabeth Catlett, Aaron Douglas, Romare Bearden, and Jacob Lawrence will be displayed as well. [33]

Sixty-Ninth Annual Detroit Public Schools Student Exhibit (April 20, 2006 – May 14, 2006) Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA. This exhibit contains ceramics, drawings, collages, jewelry, and more. [34]

Recent Acquisitions: Prints, Drawings, and Photographs (May 17, 2006 – July 31, 2006) The exhibit contains works from the 1500s through the 2000s including prints by artists such as Giorgio Ghisi, Judy Pfaff, Terry Winters, and drawings by Adolf Menzel, and Stephen Talasnik. Work by early 20th-century photographers by Edwin Hale Lincoln, Alvin Langdon Coburn, and Tina Modotti are displayed. Work by contemporary artists Larry Fink, Candida Hofer, and Kiraki Sawi are also displayed. [35]

The Big Three in Printmaking: Dürer, Rembrandt and Picasso (September 13, 2006 – December 31, 2006) The exhibit features work of Dürer in the early 16th century, Rembrandt in the mid-17th century, and Picasso in the 20th century made of various media including wood and linoleum cuts, engraving, etching, aquatint, drypoint and lithography. [36]

Annie Leibovitz: American Music (September 24, 2006 – January 7, 2007) Annie Leibovitz’s photographs of legends of roots music and younger artists influenced by them are displayed in the exhibit. Seventy portraits of hers are displayed in the exhibit, including B.B. King, Johnny Cash and June Carter, Willie Nelson, Pete Seeger, Etta James, Dolly Parton, Beck and Bruce Springsteen, Eminem, Aretha Franklin, Iggy Pop, Patti Smith, and The White Stripes. [37]

Ansel Adams (March 4, 2007 – May 27, 2007) The exhibit contains over 100 black and white photographs taken by Ansel Adams ranging from the early 1900s to the 1960s. This exhibit contains photographs of landscapes, Pueblo Indians, mountain views, along with portraits of his friends Georgia O’Keeffe, John Marin, and Edward Weston. [38]

Seventieth Annual Detroit Public Schools Student Exhibition (March 31, 2007- May 5, 2007) Kindergarten through 12th grade students will have their work displayed at the Detroit Public Library because of renovations at the DIA. This exhibit contains ceramics, drawings, collages, jewelry, and more. [39]

The Best of the Best: Prints, Drawings, and Photographs from the DIA Collection (November 23, 2007 – March 2, 2008) The DIA has chosen over 100 of the “best” prints, drawings, and photographs out of the museums 35,000 pieces of work to be displayed in the exhibit. Some pieces that will be displayed are Michelangelo’s double-sided chalk and pen and ink drawing of 1508 showing decoration schemes for the Sistine Chapel ceiling; Russet Landscape by Edgar Degas from the 1890s; and Wheels by Charles Sheeler in 1939. [40]

In 1922, Horace Rackham donated a casting of Auguste Rodin's sculpture, The Thinker, acquired from a German collection, to the museum where it was exhibited while the new building was under construction. The work was placed in the Great Hall of the new museum building. Sometime in the subsequent years the work was moved out of the building and placed on a pedestal in front of the building, facing Woodward Avenue and the Detroit Public Library across the street which was also constructed of white marble in the Beaux-Arts, Italian Renaissance style .

The south and north wings were added in 1966 and 1971 respectively. Both were designed by Gunnar Birkerts and were originally faced in black granite to serve as a backdrop for the original white marble building, the south wing was later named in honor of museum benefactors Edsel and Eleanor Ford and the north wing for Jerome Cavanaugh who was Detroit Mayor during the expansion.[42][43]

Edsel Ford commissioned murals by Diego Rivera for DIA in 1932.[44][45] Composed in fresco style, the five sets of massive murals are known collectively as Detroit Industry, or Man and Machine.[46] The murals were added to a large central courtyard; it was roofed over when the work was executed. The Diego Rivera murals are widely regarded as great works of art and a unique feature of the museum.[47] Architect Henry Sheply, a close friend of Cret's would write: "These [murals] are harsh in color, scale and composition, they were designed without the slightest thought given to the delicate architecture and ornament. They are quite simply a travesty in the name of art."[48] Their politically charged themes of proletariat struggle caused lasting friction between admirers and detractors,[49] during the McCarthy era, the murals survived only by means of a prominent sign which identified them as legitimate art; the sign further asserted unambiguously that the political motivations of the artist were "detestable".[45] Today the murals are celebrated as one of the DIA's finest assets, and even "one of America's most significant monuments".[50]

In November 2007, the Detroit Institute of Arts building completed a renovation and expansion at a total cost of $158 million. Architects for the renovation included Michael Graves and associates along with the SmithGroup,[51] the project, labeled the Master Plan Project, included expansion and renovation of the north and south wings as well as restoration of the original Paul Cret building, and added 58,000 additional square feet, bringing the total to 658,000 square feet.[2] The renovated exterior of the north and south wings was refaced with white marble acquired from the same quarry as the marble on the main building designed by Paul Cret,[51] the major renovation of the Detroit Institute of Arts has provided a significant example of study for museum planning, function, direction, and design.[52]

The Museum had its genesis in an 1881 tour of Europe made by local newspaper magnate James E. Scripps. Scripps kept a journal of his family's five-month tour of art and culture in Italy, France, Germany, and the Netherlands, portions of which were published in his newspaper The Detroit News, the series proved so popular that it was republished in book form called Five Months Abroad. The popularity inspired William H. Brearley, the manager of the newspaper's advertising department to organize an art exhibit in 1883, which was also extremely well received.

With much success from their first exhibit, Brearley then challenged 40 of Detroit’s leading and prominent businessmen to contribute $1,000 each to help fund the building of a permanent museum, with $50,000 coming from Scripps alone, their goal was within reach. By 1888, Scripps and Brearley had incorporated Detroit Museum of Arts, filling it with over 70 pieces of artwork acquired by Scripps during his time in Europe.[53]

Lasting as a museum less than 40 years, the impact the museum had on the city of Detroit was tremendous, the Art Loan Exhibition’s success in 1883 had led to the creation of a board. The purpose of the board was to raise and establish funds to build a permanent art museum in the city. Donating money to the cause were some of Detroit’s biggest names, including James E. Scripps, George H. Scripps, Russell A. Alger, and Sen. Thomas Palmer. The old Detroit Museum of Art building opened in 1888 at 704 E. Jefferson Avenue (it was finally demolished in 1960), the Detroit Museum of Art board of trustees changed the name to the Detroit Institute of Arts in 1919 and a committee began raising funds to build a new location with Scripps still at the helm. The present DIA building on Woodward Avenue debuted on October 7, 1927. While not officially declared the founder of the Detroit Institute of Arts, Scripps and Brearley were indeed the founders of the DIA’s predecessor, The Detroit Museum of Art, with the success of the arts, and the booming auto industry, families were flocking to the city; pushing for the need to expand the vision that Scripps had originally dreamed, a new building was raised and the DIA was born.

Another decision in 1919 that would have a lasting impact of the future of the museum was transferring ownership to the City of Detroit with the museum becoming a city department and receiving operating funds, the board of trustees became the Founder's Society a private support group that provided additional money for acquisitions and other museum needs. The museum sought the leadership of German art scholar Wilhelm Valentiner, it as under Valentiner's leadership as director that, the museum flush with money from a booming city and wealthy patrons, the size and quality of the DIA's collections grew significantly. The DIA became the first U.S. museum to acquire a van Gogh and Matisse in 1922 and Valentiner's relationship with German expressionist led to significant holdings of early Modernist art.[54]

Valentiner also reorganized how art was displayed at the museum. Breaking with the tradition of organizing artworks by their type with, for example, painting grouped together in one gallery and sculpture in another. Valentiner organized them by nation and chronology, this was recognized as being so revolutionary that the 1929 Encyclopædia Britannica used an illustration of the main floor plan of the DIA as an example of the perfect modern art museum.[54]

The old Detroit Museum of Art stood at 704 E. Jefferson Ave, the building opened in 1888

In 1949, the museum was among the first to return a work that had been looted by the Nazis, when it returned Claude Monet's The Seine at Asnières to its rightful owner. The art dealer from whom they had purchased it reimbursed the museum; in 2002, the museum discovered that Ludolf Backhuysen's A Man-O-War and Other Ships off the Dutch Coast, a 17th-century seascape painting under consideration for purchase by the museum, had been looted from a private European collection by the Nazis. The museum contacted the original owners, paid the rightful restitution, and the family allowed the museum to accession the painting into its collection, adding another painting to the museum's already prominent Dutch collection; in another case, Detroit Institute of Arts v. Ullin, which involved a claim concerning Vincent Van Gogh’s “Les Becheurs (The Diggers)” (1889), the museum successfully asserted that Michigan’s three-year statute of limitations precluded the court or a jury from deciding the merits of the case.[55]

The museum was expanded with a south and north wing in 1966 and 1971, respectively, giving space for the museum to receive two big gifts in 1970, the collection of Robert Tannahill and Anna Thompson Dodge bequeathed the 18th-century French contents of the music room from her home, Rose Terrace, to the museum upon her death.[54]

As the fortunes of the city declined in the 1970s and 80s so did its ability to support the DIA; in 1975, even with reduced staff, the city was forced to close the museum for three weeks in June. The State of Michigan provided funding to reopen and over this time period the state would play an increasing role in funding the museum.[54]

A 1976 gift of $1 million from Eleanor Ford created the Department of African, Oceanic and New World Cultures.[43]

By 1990, 70 percent of the DIA's funding was coming from the State of Michigan, that year the state facing a recession and budget deficit cut funding by more than 50 percent, this resulted in the museum having to close galleries and reduce hours, a fundraising campaign led by Joseph L. Hudson was able to restore operations.[54]

In 1998, the Founder's Society signed an operating agreement with the City of Detroit that would have the Founder's Society operating as Detroit Institute of Arts, Inc take over management of the museum from the Art Department with the city retaining ownership of the DIA itself.[54]

On February 24, 2006, a 12-year-old boy stuck a piece of chewing gum on Helen Frankenthaler's 1963 abstract work The Bay, leaving a small stain, the painting was valued at $1.5 million in 2005, and is one of Frankenthaler's most important works. The museum's conservation lab successfully cleaned and restored the painting, which was put returned to the gallery in late June 2006.[56]

As part of the settlement of the City of Detroit's bankruptcy ownership of the museum was transferred to Detroit Institute of Arts, Inc in December 2014 returning the museum to its pre-1919 status as an independent non-profit.[54]

The current director of the Detroit Institute of Arts, Salvador Salort-Pons a native of Madrid was previously head of the European Art Department at the DIA, before coming to the DIA he was senior curator at the Meadows Museum at SMU and prior to that an assistant professor of art history at the Complutense University of Madrid. Salort-Pons holds a doctorate in art history from the Royal Spanish College at Italy’s University of Bologna and a MBA from the Cox School of Business at Southern Methodist University in Dallas, on September 16, 2015 Salort-Pons was named as director following the retirement of Graham Beal in June.[57]

Besides holding major art exhibitions inside the museum's 1,150-seat theatre and annual formal entertainment fundraising galas such as Les Carnavel des ArtStars in November,[58][59] other Detroit Institute of Arts coordinated events include the annual "Fash Bash," a leading corporate sponsored fashion event, featuring celebrities and models that showcase the latest fashion trends, typically held in the Renaissance Center's Winter Garden, the Fox Theatre, or at the Detroit Institute of Arts theatre in August to celebrate Detroit Fashion Week.[60][61] A 2012 survey showed 79 percent of the institute’s annual visitors lived in one of the three surrounding counties Wayne (which includes Detroit), Macomb, and Oakland.[62] The museum's annual attendance was 429,000 in 2011 and rose to 594,000 in 2013;[63] in 2014, the museum's annual attendance was about 630,000.[1]

One of the largest, most significant art museums in the United States, the Detroit Institute of Arts relies on private donations for much of its financial support, the museum has sought to increase its endowment balance to provide it financial independence. The city of Detroit owns the museum building and collection, but withdrew the city's financial support, the museum's endowment totaled $200 million in 1999 and $230 million in 2001. The museum completed a major renovation and expansion in 2007. By 2008, the museum's endowment reached $350 million; however, a recession, reduced contributions, and unforeseen costs reduced the endowment balance to critical levels.[58]

In 2012, the endowment totaled $89.3 million and provided an annual return of about $3.4 million in investment income; while admissions, the museums cafe restaurant, and merchandise and book sales from the museum's gift shop generated about $3.5 million a year, or just 15 percent of the annual budget. The museum raised $60 million from 2008 to 2012, reduced staffing, and reduced its annual operating budget from $34 million in 2008 to 25.4 million in 2012.[58][62] In 2012, voters in three of the major metropolitan counties approved a property tax levy or millage for a duration of 10 years, expected to raise $23 million per year, saving the museum from cuts; in August 2012, the museum website expressed appreciation to the voters for their support. The Museum offers Wayne, Oakland, and Macomb County residents free general admission for the 10-year duration of the millage approved in 2012;[64] in 2012, the museum established an updated fund raising goal for its endowment balance to reach $400 million by 2022 in order to be self-sustaining, while the millage is in effect.[62][65]

The DIA art collection is valued in billions of dollars, up to $8.5 billion according to a 2014 estimate.[4][5] After city's bankruptcy filing July 18, 2013, creditors targeted a part of the museum's collection that had been paid for with city funds as a potential source of revenue. State-appointed emergency manager Kevin Orr hired Christie's Auction House to appraise the collection, after months of determining the fair market value of the portion of the art that was purchased with city funds, Christie's released a report December 19, 2013, saying that the collection of nearly 2,800 pieces of the then city-owned artwork, was worth $454 million to $867 million, with one masterpiece by Van Gogh worth up to $150 million.[66][67] To prevent possible sale of the works, museum proponents developed what has been named the grand bargain. Under the plan, which was eventually approved, the museum would raise $100 million for its portion, nine private foundations pledged $330 million, and the state of Michigan would contribute $350 million for a total of $820 million in order to guarantee municipal workers' pensions; in return, the city of Detroit would transfer its portion of the collection and the building to the non-profit entity that already operates the museum.[68] This plan was challenged by other creditors, who claimed that it treated them unfairly and requested to conduct their own appraisal of the museum collection,[69] some creditors came forward with offers from other parties to buy the artworks for sums higher than Christie's appraisal.[70] On May 13, 2014, Detroit emergency manager Kevyn Orr asked Detroit automakers to add $195 million to make the grand bargain stronger,[71] the eventual settlement did not require the DIA to sell any art.[72]

The discovery in 2014 that DIA President Graham W. J. Beal and Executive Vice President Anne Erickson received significant raises in 2014 and $50,000 bonuses in 2013 raised concerns among Wayne, Macomb and Oakland County residents.[73][74][75] The DIA board notified suburban authorities November 4, 2014, that it reimbursed the museum $90,000 for bonuses awarded to three top executives in 2013.[76]

On January 8, 2015, Beal announced he was stepping down in June 30.[77] Months later, Beal's pay continued to generate negative headlines for the DIA. Oakland County officials were at the forefront of opposition to a retroactive raise for Beal, even though the money was raised from private donations.[78][79][80] Some local lawmakers hoped to make the non-profit DIA subject to the Freedom of Information Act.[81]

1.
Woodward Avenue
–
M-1, commonly known as Woodward Avenue, is a north–south state trunkline highway in the Metro Detroit area of the US state of Michigan. The highway, called Detroits Main Street, runs from Detroit north-northwesterly to Pontiac, the street is one of the five principal avenues of Detroit, which also include Michigan, Grand River, Gratiot and Jefferson avenues. These streets were platted in 1805 by Judge Augustus B, the Federal Highway Administration has listed the highway as the Automotive Heritage Trail, an All-American Road in the National Scenic Byways Program. It has also designated a Pure Michigan Byway by the Michigan Department of Transportation. The roadway was included in the MotorCities National Heritage Area designated by the US Congress in 1998. The trunkline is the line between Detroits East and West sides, and it connects to some of the citys major freeways like Interstate 94. Woodward Avenue exits Detroit at M-102 and runs through the northern suburbs in Oakland County on its way to Pontiac. In between, Woodward Avenue passes through several historic districts in Detroit and provides access to businesses in the area. The name Woodward Avenue has become synonymous with Detroit, cruising culture, Woodward Avenue was created after the Detroit Fire in 1805. It followed the route of the Saginaw Trail, an Indian trail that linked Detroit with Pontiac, Flint, the Saginaw Trail also connected to the Mackinaw Trail, which ran north to the Straits of Mackinac at the tip of the Lower Peninsula of Michigan. In the age of the trails, Woodward Avenue was also part of the Theodore Roosevelt International Highway that connected Portland, Maine, with Portland. It was also a part of the Dixie Highway, which connected Michigan with Florida, Woodward Avenue was the location of the first mile of concrete roadway in the country. When Michigan created the State Trunkline Highway System in 1913, the roadway was included, numbered as part of M-10 in 1919, later, it was part of US Highway 10 following the creation of the United States Numbered Highway System. Since 1970, it has borne the M-1 designation, the roadway carried streetcar lines from the 1860s until the 1950s, a new light rail line will be added in the future. Like other state highways in Michigan, the section of Woodward Avenue designated M-1 is maintained by MDOT, all of M-1 north of I-75 is listed on the National Highway System, a network of roads important to the countrys economy, defense, and mobility. In addition to the sections of Woodward Avenue in Pontiac that are part of Business Loop I-75 and Business US24, all of M-1 is a Pure Michigan Byway, Woodward Avenue is also considered to be the divider between the East and West sides of the city of Detroit. Woodward Avenue starts at an intersection with Jefferson Avenue next to Hart Plaza about 750 feet from the Detroit River, the plaza is regarded as the birthplace of the Ford Motor Company, and it is located near Cobo Center and the Renaissance Center, headquarters for General Motors. Woodward Avenue runs north-northwesterly away from the river through the heart of downtown Detroit, along the way, it passes several important and historic sites, including notable buildings like One Woodward Avenue, the Guardian Building and The Qube

Woodward Avenue
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Merchants Row on Woodward between Grand Circus Park and Campus Martius Park in downtown Detroit, just south of the David Whitney Building
Woodward Avenue
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M-1 highlighted in red
Woodward Avenue
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Maccabees Building at Wayne State University adjacent to Woodward Avenue in Detroit
Woodward Avenue
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M-1 southbound approaching I-696

2.
Detroit
–
Detroit is the most populous city in the U. S. state of Michigan, the fourth-largest city in the Midwest and the largest city on the United States–Canada border. It is the seat of Wayne County, the most populous county in the state, the municipality of Detroit had a 2015 estimated population of 677,116, making it the 21st-most populous city in the United States. Roughly one-half of Michigans population lives in Metro Detroit alone, the Detroit–Windsor area, a commercial link straddling the Canada–U. S. Border, has a population of about 5.7 million. Detroit is a port on the Detroit River, a strait that connects the Great Lakes system to the Saint Lawrence Seaway. The Detroit Metropolitan Airport is among the most important hubs in the United States, the City of Detroit anchors the second-largest economic region in the Midwest, behind Chicago, and the thirteenth-largest in the United States. Detroit and its neighboring Canadian city Windsor are connected through a tunnel and various bridges, Detroit was founded on July 24,1701 by the French explorer and adventurer Antoine de la Mothe Cadillac and a party of settlers. During the 19th century, it became an important industrial hub at the center of the Great Lakes region, with expansion of the American automobile industry in the early 20th century, the Detroit area emerged as a significant metropolitan region within the United States. The city became the fourth-largest in the country for a period, in the 1950s and 1960s, suburban expansion continued with construction of a regional freeway system. A great portion of Detroits public transport was abandoned in favour of becoming a city in the post-war period. Due to industrial restructuring and loss of jobs in the auto industry, between 2000 and 2010 the citys population fell by 25 percent, changing its ranking from the nations 10th-largest city to 18th. In 2010, the city had a population of 713,777 and this resulted from suburbanization, corruption, industrial restructuring and the decline of Detroits auto industry. In 2013, the state of Michigan declared an emergency for the city. Detroit has experienced urban decay as its population and jobs have shifted to its suburbs or elsewhere, conservation efforts managed to save many architectural pieces since the 2000s and allowed several large-scale revitalisations. More recently, the population of Downtown Detroit, Midtown Detroit, paleo-Indian people inhabited areas near Detroit as early as 11,000 years ago. In the 17th century, the region was inhabited by Huron, Odawa, Potawatomi, for the next hundred years, virtually no British, colonist, or French action was contemplated without consultation with, or consideration of the Iroquois likely response. When the French and Indian War evicted the Kingdom of France from Canada, the 1798 raids and resultant 1799 decisive Sullivan Expedition reopened the Ohio Country to westward emigration, which began almost immediately, and by 1800 white settlers were pouring westwards. By 1773, the population of Detroit was 1,400, by 1778, its population was up to 2,144 and it was the third-largest city in the Province of Quebec

3.
Michigan
–
Michigan /ˈmɪʃᵻɡən/ is a state in the Great Lakes and Midwestern regions of the United States. The name Michigan is the French form of the Ojibwa word mishigamaa, Michigan is the tenth most populous of the 50 United States, with the 11th most extensive total area. Its capital is Lansing, and its largest city is Detroit, Michigan is the only state to consist of two peninsulas. The Lower Peninsula, to which the name Michigan was originally applied, is noted to be shaped like a mitten. The Upper Peninsula is separated from the Lower Peninsula by the Straits of Mackinac, the two peninsulas are connected by the Mackinac Bridge. The state has the longest freshwater coastline of any political subdivision in the world, being bounded by four of the five Great Lakes, as a result, it is one of the leading U. S. states for recreational boating. Michigan also has 64,980 inland lakes and ponds, a person in the state is never more than six miles from a natural water source or more than 85 miles from a Great Lakes shoreline. What is now the state of Michigan was first settled by Native American tribes before being colonized by French explorers in the 17th century, the area was organized as part of the larger Northwest Territory until 1800, when western Michigan became part of the Indiana Territory. Eventually, in 1805, the Michigan Territory was formed, which lasted until it was admitted into the Union on January 26,1837, the state of Michigan soon became an important center of industry and trade in the Great Lakes region and a popular immigrant destination. Though Michigan has come to develop an economy, it is widely known as the center of the U. S. automotive industry. When the first European explorers arrived, the most populous tribes were Algonquian peoples, which include the Anishinaabe groups of Ojibwe, Odaawaa/Odawa, the three nations co-existed peacefully as part of a loose confederation called the Council of Three Fires. The Ojibwe, whose numbers are estimated to have been between 25,000 and 35,000, were the largest, French voyageurs and coureurs des bois explored and settled in Michigan in the 17th century. The first Europeans to reach what became Michigan were those of Étienne Brûlés expedition in 1622, the first permanent European settlement was founded in 1668 on the site where Père Jacques Marquette established Sault Ste. Marie, Michigan as a base for Catholic missions, missionaries in 1671–75 founded outlying stations at Saint Ignace and Marquette. Jesuit missionaries were received by the areas Indian populations, with relatively few difficulties or hostilities. In 1679, Robert Cavelier, Sieur de la Salle built Fort Miami at present-day St. Joseph, in 1691, the French established a trading post and Fort St. Joseph along the St. Joseph River at the present day city of Niles. The hundred soldiers and workers who accompanied Cadillac built a fort enclosing one arpent, cadillacs wife, Marie Thérèse Guyon, soon moved to Detroit, becoming one of the first European women to settle in the Michigan wilderness. The town quickly became a major fur-trading and shipping post, the Église de Saint-Anne was founded the same year

4.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside

5.
Detroit Department of Transportation
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The Detroit Department of Transportation is the public transportation operator of city bus service in Detroit, Michigan. In existence since 1922, it has headquarters in the Midtown section of Detroit and is a department of the city government. DDOT partners with the Suburban Mobility Authority for Regional Transportation, bus service generally operates between 5 a. m. and 12,30 a. m. Monday through Saturday, while Sunday service starts approximately 7 a. m. on Woodward Avenue, Dexter Avenue, Gratiot Avenue, and Grand River Avenue bus service operates 24/7 service. Along with operating fixed-route bus service, DDOT also operates MetroLift, DDOT contracts with three providers for this service, Checker Cab, Enjoi Transportation, and Lakeside Divisions. The DSR added bus service when it created the Motorbus Division in 1925, at the height of its operation in 1941, the DSR operated 20 streetcar lines with 910 streetcars. By 1952, only four streetcar lines remained, Woodward, Gratiot, Michigan, streetcar services was discontinued in April 1956 with the decommissioning of the Woodward line. The DSR formally became the DDOT in 1974 under the Detroit City Charter, between 2009 and 2012, the systems seven remaining limited and express bus routes were discontinued. Starting January 1,2012, management of DDOT was contracted out to Parsons Brinckerhoff, the firm subsequently subcontracted the management of the system to Envisurage, LLC a consultancy run by the former CEO of the Rochester-Genesee Regional Transportation Authority. On March 3,2012, 24-hour service was discontinued, and other weekday and weekend routes and services were pared down, or eliminated entirely, in August 2013, management of DDOT was contracted out to MV Transportation under the direction of Paul Toliver until September 2014. Dan Dirks was appointed director of the department by mayor Mike Duggan on January 9,2014 for the duration of MV Transportations contract, MV Transportations contract was extended for another two years on August 12,2014. On January 23,2016 DDOT reintroduced 24-hour service on three routes along with other smaller service changes. The Detroit Downtown Trolley was a heritage trolley built in 1976 as a U. S, most of the Detroit cars that saw service from 1976 to 2003 had been acquired from Lisbon, Portugal. For all transfers round trips & stopovers are prohibited, and are good for 2 hours upon boarding, ^To receive discounted fares, seniors and disabled passengers must present either DDOT Special Fares ID CARD or State ID with Visual impairment designation. ^^Medicare cardholders pay one-half fare for all fixed-route service, Detroit People Mover Detroit Department of Transportation Official Website SMART home Transportation Riders United

6.
Cultural Center Historic District
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The district contains several cultural attractions. Wayne State University, then housed in the former Central High School, the Charles H. Wright Museum of African American History, the Michigan Science Center, and the Museum of Contemporary Art Detroit are also located in the Art Center area. Substantial residential areas, including the East Ferry Avenue Historic District and these neighborhoods have been infilled with townhomes and other residential developments and revitalizations. The Public Library was built in 1921, designed by Cass Gilbert in an Italian Renaissance style, the exterior is faced with white marble and the interior is decorated with murals, tiles and mosaics. Another wing was added in 1963, the Detroit Institute of Arts was built in 1927. Architect Paul Philippe Cret designed it to resemble its neighbor. Cret created galleries of varying sizes and shapes to provide a setting for the art collection. Two wings were added, one in 1965 and one in 1971. The Rackham Building was named after Horace Rackham, a local philanthropist, the building opened in 1941, serving as the headquarters for the Engineering Society of Detroit and the University of Michigan Extension Service. It was designed by the firm of Harley and Ellington Architects, the windows are cast bronze and the exterior features sculptures by Detroit artist Marshall Fredericks. The structure is 404 ft in length and between 65 ft and 150 ft in depth, in the central section holds a 1,000 seat auditorium on the main level and a ballroom with a capacity of 700 on the lower level. The University of Michigan occupies the western wing with three classrooms, a hall and studio classroom on the lower level. Offices for the Extension Center and Institute for Public and Social Administration are on the level along with a lounge. The second floor contains rooms, a library and seminar rooms. The Engineering Society of Detroit occupied the wing until 1994. Currently, Wayne State Universitys psychological clinic occupies a portion of the vacated by the Engineering Society. The departments Speech and Language Center is housed in the main floor east and west wings, the main auditorium and ballroom are in need of renovation and have not been used in several years. On the wall facing Warren Avenue is a trio of 13 ft high figures sculpted by Marshall Fredericks representing science, education, the figures are largely hidden due to the construction of a parking garage south of the building in the 1980s

7.
United States dollar
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The United States dollar is the official currency of the United States and its insular territories per the United States Constitution. It is divided into 100 smaller cent units, the circulating paper money consists of Federal Reserve Notes that are denominated in United States dollars. The U. S. dollar was originally commodity money of silver as enacted by the Coinage Act of 1792 which determined the dollar to be 371 4/16 grain pure or 416 grain standard silver, the currency most used in international transactions, it is the worlds primary reserve currency. Several countries use it as their currency, and in many others it is the de facto currency. Besides the United States, it is used as the sole currency in two British Overseas Territories in the Caribbean, the British Virgin Islands and Turks and Caicos Islands. A few countries use the Federal Reserve Notes for paper money, while the country mints its own coins, or also accepts U. S. coins that can be used as payment in U. S. dollars. After Nixon shock of 1971, USD became fiat currency, Article I, Section 8 of the U. S. Constitution provides that the Congress has the power To coin money, laws implementing this power are currently codified at 31 U. S. C. Section 5112 prescribes the forms in which the United States dollars should be issued and these coins are both designated in Section 5112 as legal tender in payment of debts. The Sacagawea dollar is one example of the copper alloy dollar, the pure silver dollar is known as the American Silver Eagle. Section 5112 also provides for the minting and issuance of other coins and these other coins are more fully described in Coins of the United States dollar. The Constitution provides that a regular Statement and Account of the Receipts and that provision of the Constitution is made specific by Section 331 of Title 31 of the United States Code. The sums of money reported in the Statements are currently being expressed in U. S. dollars, the U. S. dollar may therefore be described as the unit of account of the United States. The word dollar is one of the words in the first paragraph of Section 9 of Article I of the Constitution, there, dollars is a reference to the Spanish milled dollar, a coin that had a monetary value of 8 Spanish units of currency, or reales. In 1792 the U. S. Congress passed a Coinage Act, Section 20 of the act provided, That the money of account of the United States shall be expressed in dollars, or units. And that all accounts in the offices and all proceedings in the courts of the United States shall be kept and had in conformity to this regulation. In other words, this act designated the United States dollar as the unit of currency of the United States, unlike the Spanish milled dollar the U. S. dollar is based upon a decimal system of values. Both one-dollar coins and notes are produced today, although the form is significantly more common

8.
Wayne State University
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Wayne State University is an American public research university located in the Midtown Cultural Center Historic District of Detroit, Michigan. Founded in 1868, WSU consists of 13 schools and colleges offering more than 380 programs to nearly 28,000 graduate and undergraduate students and it is currently Michigans third-largest university and one of the 100 largest universities in the United States. The WSU main campus encompasses 203 acres linking more than 100 education and it also has six extension centers in the metro Detroit area providing access to a limited selection of courses. The first component of the modern Wayne State University was established in 1868 as the Detroit Medical College, in 1881, the Detroit Normal Training School was established, now known as the College of Education. Old Main Hall was built in 1896 as Central High School and those classes evolved into the Detroit Junior College in 1917, the Colleges of the City of Detroit in 1923 and now WSUs College of Liberal Arts and Sciences. With Mackenzie at the helm, Detroit Junior College grew to become the third-largest institution of learning in Michigan. The college was granted four-year degree status in 1923, becoming the College of the City of Detroit, Mackenzie continued as dean until his death in 1926. In 1920, the Merrill-Palmer Institute for Child Development was founded and it is now known as the Merrill-Palmer Skillman Institute. In 1927, the Detroit Board of Education dedicated its newest high school to the memory of Mackenzie, the three-story structure stood on the citys west side at 9275 Wyoming Avenue, Mackenzie High School closed its doors in June 2007 and was demolished in 2012. A new pre-kingergarten-to-eighth-grade Mackenzie School opened near the school site in 2012. In 1933, the Detroit Board of Education organized the six colleges it ran — liberal arts, medical, education, pharmacy, engineering, in January 1934, that institution was officially named Wayne University, taking its name from the county in which it is located. Wayne University continued to grow, adding its Law School in 1927, its School of Social Work in 1935, Wayne University was renamed Wayne State University in 1956 and the institution became a constitutionally established university by a popularly adopted amendment to the Michigan Constitution in 1959. The Wayne State University Board of Governors created the Institute of Gerontology in 1965 in response to a State of Michigan mandate, the primary mission in that era was to engage in research, education and service in the field of aging. The university libraries have grown to seven, including desks at the universitys extension centers in Oakland. More than 500 researchers, staff and principal investigators work out of the building, on June 5,2013, the Board of Governors unanimously elected M. Roy Wilson as Wayne States 12th president. He was sworn in on August 1,2013, in 2015, WSU bestowed its first posthumous honorary doctorate degree on Viola Liuzzo. In 2015, the School of Business administration was renamed the Mike Ilitch School of Business, the name was changed in recognition of a $40 million grant from Mike and Marian Ilitch. In gift will go toward building a new, state-of-the-art business school facility in Detroit, Wayne States campus is located in the heart of Detroits Cultural Center Historic District, home of renowned museums, galleries and theatres

Wayne State University
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Old Main, a historic building on the Wayne State University campus
Wayne State University
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Wayne State University
Wayne State University
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Detroit College of Medicine, about 1911
Wayne State University
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McGregor Memorial Conference Center

9.
National Register of Historic Places
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The National Register of Historic Places is the United States federal governments official list of districts, sites, buildings, structures, and objects deemed worthy of preservation. The passage of the National Historic Preservation Act in 1966 established the National Register, of the more than one million properties on the National Register,80,000 are listed individually. The remainder are contributing resources within historic districts, each year approximately 30,000 properties are added to the National Register as part of districts or by individual listings. For most of its history the National Register has been administered by the National Park Service and its goals are to help property owners and interest groups, such as the National Trust for Historic Preservation, coordinate, identify, and protect historic sites in the United States. While National Register listings are mostly symbolic, their recognition of significance provides some financial incentive to owners of listed properties, protection of the property is not guaranteed. During the nomination process, the property is evaluated in terms of the four criteria for inclusion on the National Register of Historic Places, the application of those criteria has been the subject of criticism by academics of history and preservation, as well as the public and politicians. Occasionally, historic sites outside the proper, but associated with the United States are also listed. Properties can be nominated in a variety of forms, including individual properties, historic districts, the Register categorizes general listings into one of five types of properties, district, site, structure, building, or object. National Register Historic Districts are defined geographical areas consisting of contributing and non-contributing properties, some properties are added automatically to the National Register when they become administered by the National Park Service. These include National Historic Landmarks, National Historic Sites, National Historical Parks, National Military Parks/Battlefields, National Memorials, on October 15,1966, the Historic Preservation Act created the National Register of Historic Places and the corresponding State Historic Preservation Offices. Initially, the National Register consisted of the National Historic Landmarks designated before the Registers creation, approval of the act, which was amended in 1980 and 1992, represented the first time the United States had a broad-based historic preservation policy. To administer the newly created National Register of Historic Places, the National Park Service of the U. S. Department of the Interior, hartzog, Jr. established an administrative division named the Office of Archeology and Historic Preservation. Hartzog charged OAHP with creating the National Register program mandated by the 1966 law, ernest Connally was the Offices first director. Within OAHP new divisions were created to deal with the National Register, the first official Keeper of the Register was William J. Murtagh, an architectural historian. During the Registers earliest years in the late 1960s and early 1970s, organization was lax and SHPOs were small, understaffed, and underfunded. A few years later in 1979, the NPS history programs affiliated with both the U. S. National Parks system and the National Register were categorized formally into two Assistant Directorates. Established were the Assistant Directorate for Archeology and Historic Preservation and the Assistant Directorate for Park Historic Preservation, from 1978 until 1981, the main agency for the National Register was the Heritage Conservation and Recreation Service of the United States Department of the Interior. In February 1983, the two assistant directorates were merged to promote efficiency and recognize the interdependency of their programs, jerry L. Rogers was selected to direct this newly merged associate directorate

10.
William Randolph Hearst
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Hearst entered the publishing business in 1887 after being given control of The San Francisco Examiner by his wealthy father. Acquiring more newspapers, Hearst created a chain that numbered nearly 30 papers in major American cities at its peak and he later expanded to magazines, creating the largest newspaper and magazine business in the world. Politically he espoused the Progressive Movement, speaking on behalf of the working class and he controlled the editorial positions and coverage of political news in all his papers and magazines and thereby exercised enormous political influence. He also called for war in 1898 against Spain—as did many other newspaper editors—but he did it in sensational fashion, after 1918, he called for an isolationist foreign policy to avoid any more entanglement in what he regarded as corrupt European affairs. He was at once a militant nationalist, a fierce anti-communist, and deeply suspicious of the League of Nations and of the British, French, Japanese, and Russians. He was a supporter of Franklin Roosevelt in 1932–34, but then broke with FDR. His life story was the inspiration for Charles Foster Kane. His famous mansion, Hearst Castle, on a hill overlooking the Pacific Ocean near San Simeon, is now a State Historical Monument and a National Historic Landmark. William R. Hearst was born in San Francisco, to mining engineer, goldmine owner and U. S. senator George Hearst. His paternal great-grandfather was John Hearst, of Ulster Protestant origin and he migrated to America from Ballybay, County Monaghan as part of the Cahans Exodus with his wife and six children in 1766 and settled in South Carolina. Their immigration to South Carolina was spurred in part by the governments policy that encouraged the immigration of Irish Protestants. The names John Hearse and John Hearse Jr, the Hearse spelling of the family name never was used afterward by the family members themselves, or any family of any size. Hearsts mother, née Phoebe Elizabeth Apperson, was also of Irish ancestry and she was the first woman regent of University of California, Berkeley, funded many anthropological expeditions and founded the Phoebe A. Hearst Museum of Anthropology. Following preparation at St. Pauls School in Concord, New Hampshire, while there he was a member of Delta Kappa Epsilon, the A. D. Searching for an occupation, in 1887, Hearst took over management of a newspaper, the San Francisco Examiner, a self-proclaimed populist, Hearst went on to publish stories of municipal and financial corruption, often attacking companies in which his own family held an interest. Within a few years, his paper dominated the San Francisco market, outcault, the inventor of color comics, and all of Pulitzers Sunday staff as well. Another prominent hire was James J. Montague, who came from the Portland Oregonian, Hearst imported his best managers from the San Francisco Examiner and quickly established himself as the most attractive employer among New York newspapers. Hearsts activist approach to journalism can be summarized by the motto, While others Talk, the New York Journal and its chief rival, the New York World, mastered a style of popular journalism that came to be derided as yellow journalism, after Outcaults Yellow Kid comic

William Randolph Hearst
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Hearst in 1906, photograph by James E. Purdy
William Randolph Hearst
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An ad asking automakers to place ads in Hearst chain, noting their circulation.
William Randolph Hearst
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From left to right: Hearst, Robert Vignola and Arthur Brisbane in New York, during the filming of Vignola's The World and His Wife (1920)
William Randolph Hearst
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William Hearst with fascists: Alfred Rosenberg, Carl Bomer, Tilo von Trota, Rosenberg's adjutant

11.
Visual arts of the United States
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Visual art of the United States or American art is visual art made in the United States or by American artists. Early colonial art on the East Coast initially relied on artists from Europe, in the late 18th and early 19th centuries, artists primarily painted portraits, and some landscapes in a style based mainly on English painting. American artists who remained at home became increasingly skilled, although there was awareness of them in Europe. The American Revolution produced a demand for art, especially history painting. A parallel development taking shape in rural America was the American craft movement, which began as a reaction to the industrial revolution. After 1850 Academic art in the European style flourished, and as richer Americans became very wealthy, the flow of European art, new and old, to the US began, museums began to be opened to display much of this. Developments in modern art in Europe came to America from exhibitions in New York City such as the Armory Show in 1913, after World War II, New York replaced Paris as the center of the art world. Since then many American movements have shaped Modern and Postmodern art, Art in the United States today covers a huge range of styles. One of the first painters to visit British America was John White, eventually the English settlements grew large enough to support professional artists, mostly portrait-painters, often largely self-taught. Among the earliest was John Smybert, a trained artist from London who emigrated in 1728 intending to be a professor of fine art and his friend Peter Pelham was a painter and printmaker. Both needed other sources of income and had shops, most of early American art consists of history painting and especially portraits. As in Colonial America, many of the painters who specialized in portraits were essentially self-taught, notable among them are Joseph Badger, John Brewster, Jr. and William Jennys. The young nations artists generally emulated the style of British art, which they knew through prints, Robert Feke, an untrained painter of the colonial period, achieved a sophisticated style based on Smiberts example. Charles Willson Peale, who gained much of his earliest art training by studying Smiberts copies of European paintings, Peales younger brother James Peale and four of Peales sons—Raphaelle Peale, Rembrandt Peale, Rubens Peale and Titian Peale—were also artists. John Singleton Copley painted emblematic portraits for the prosperous merchant class. Benjamin West painted portraits as well as paintings of the French. John Trumbull painted large battle scenes of the Revolutionary War, when landscape was painted it was most often done to show how much property a subject owned, or as a picturesque background for a portrait. Americas first well-known school of painting—the Hudson River School—appeared in 1820, Thomas Cole pioneered the movement which included Albert Bierstadt, Frederic Edwin Church, Thomas Doughty and several others

12.
Mary Cassatt
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Mary Stevenson Cassatt was an American painter and printmaker. She was born in Pennsylvania, but lived much of her life in France. Cassatt often created images of the social and private lives of women and she was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond and Berthe Morisot. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh and she was born into an upper-middle-class family, Her father, Robert Simpson Cassat, was a successful stockbroker and land speculator. He was descended from the French Huguenot Jacques Cossart, who came to New Amsterdam in 1662 and her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a influence on her daughter. The ancestral name had been Cossart, a distant cousin of artist Robert Henri, Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later president of the Pennsylvania Railroad. The family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, Cassatt grew up in an environment that viewed travel as integral to education, she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and it is likely that her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was at the Paris World’s Fair of 1855. Also in the exhibition were Degas and Pissarro, both of whom were later her colleagues and mentors, though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents concern may have been Cassatts exposure to feminist ideas, although about 20 percent of the students were female, most viewed art as a socially valuable skill, few of them were determined, as Cassatt was, to make art their career. She continued her studies from 1861 through 1865, the duration of the American Civil War, among her fellow students was Thomas Eakins, later the controversial director of the Academy. Impatient with the pace of instruction and the patronizing attitude of the male students and teachers. She later said, There was no teaching at the Academy, female students could not use live models, until somewhat later, and the principal training was primarily drawing from casts. Cassatt decided to end her studies, At that time, no degree was granted, after overcoming her fathers objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. The museum also served as a place for Frenchmen and American female students. In this manner, fellow artist and friend Elizabeth Jane Gardner met, toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist

13.
Frederic Edwin Church
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Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. Churchs paintings put an emphasis on light and a respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes, Church was the son of Eliza and Joseph Church. The familys wealth came from Churchs father, a silversmith and watchmaker in Hartford, Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires. Joseph later became an official and a director of The Aetna Life Insurance Company, the familys wealth allowed Frederic Church to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, in May 1849, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartfords Wadsworth Athenaeum, Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains, both Cole and Church were devout Protestants and the latters beliefs played a role in his paintings especially his early canvases. Cole, along with his friend Asher Durand, started school in New York. The paintings were characterized by their focus on traditional American pastoral settings, especially the Catskill Mountains and this style attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the feelings of discovery and appreciation for natural beauty. His American frontier landscapes show the expansionist and optimistic outlook of the United States in the mid-nineteenth century, Church did differ from Cole in the topics of his paintings, he preferred natural and often majestic scenes over Coles propensity towards allegory. Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature and this tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Churchs works, luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes, ” which makes the scene more realistic. Most importantly is the emphasis on light in these scenes, the several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting. Church began his career by painting classic Hudson River School scenes of New York and New England, Church’s method consisted of creating paintings in his studio based on sketches created of views in the summer months. In these earlier years of his career, Church’s style was reminiscent of that of his teacher, Thomas Cole, Church’s work was immediately divergent from Cole’s focus on ethereal, almost mythological, scenes, but his early work did resemble Cole’s tone

14.
John Singleton Copley
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John Singleton Copley RA was an American painter, active in both colonial America and England. He was probably born in Boston, Massachusetts, to Richard and Mary Singleton Copley and he is famous for his portrait paintings of important figures in colonial New England, depicting in particular middle-class subjects. His portraits were innovative in their tendency to depict artifacts relating to these individuals lives, Copleys mother owned a tobacco shop on Long Wharf. His father was from Limerick, his mother, of the Singletons of County Clare, Letters from John Singleton, Mrs. Copleys father, are in the Copley-Pelham collection. Richard Copley, described as a tobacconist, is said by biographers to have arrived in Boston in ill health and to have gone, about the time of Johns birth, to the West Indies. William H. Whitmore gives his death as of 1748, the year of Mrs. Copleys remarriage, james Bernard Cullen says, Richard Copley was in poor health on his arrival in America and went to the West Indies to improve his failing strength. No contemporary evidence has been located for either year, except for a family tradition that speaks of his precocity in drawing, nothing is known of Copleys schooling or of the other activities of his boyhood. His letters, the earliest of which is dated September 30,1762, in such a household young Copley may have learned to use the paintbrush and the engravers tools. The family lived next to the occupied by japanner Thomas Johnston and his family. His son, Lord Lyndhurst, wrote that he was entirely self taught, variants of this thesis are found almost everywhere in his earlier letters. They suggest that, while Copley was industrious and an executant, he was physically unadventurous and temperamentally inclined toward brooding. He could have seen at least a few paintings and many good prints in the Boston of his youth. The excellence of his own portraits was not accidental or miraculous and it is a remarkable work to have come from so young a hand. No other engraving has been attributed to Copley, such painting would obviously advertise itself anywhere. Without going after business, for his letters do not indicate that he was ever aggressive or pushy, besides painting portraits in oil, doubtless after a formula learned from Peter Pelham, Copley was a pioneer American pastellist. He wrote, on September 30,1762, to the Swiss painter Jean-Étienne Liotard, the requested pastels were duly received and used by Copley in making many portraits in a medium suited to his talent. By this time he had begun to demonstrate his genius for rendering surface textures and capturing emotional immediacy. Copleys fame was established in England by the exhibition, in 1766, of A Boy with a Squirrel, which depicted his half-brother, Henry Pelham, seated at a table and playing with a pet squirrel

15.
Robert Colescott
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Robert H. Colescott, was an American painter. He is known for genre and crowd subjects, often conveying his exuberant, comical. He studied with Fernand Léger in Paris, Colescott developed a deep love of music early on. His mother was a pianist and his father was an accomplished classical and they moved from New Orleans to Oakland, California, where Colescott was born in 1925. He took up drumming at an age and seriously considered pursuing a career as a musician before settling instead on art. The sculptor Sargent Claude Johnson was a friend who was a role model to Colescott growing up. He was also a connection to the Harlem Renaissance and artwork dealing with African-American experience, in 1940, Colescott watched as the Mexican muralist Diego Rivera painted a mural at the Golden Gate International Exposition on Treasure Island near San Francisco. Colescott went on to absorb the Western art historical canon and to explore the art of Africa and he would always be acutely aware what was going on in the contemporary art world. Nonetheless, these early experiences remained touchstones, as a budding artist, Colescott was drafted into the U. S. Army in 1942 and served in Europe until the end of World War II. His tour of duty took him to Paris, then the capital of the art world, back home, he enrolled at UC Berkeley, which granted him a bachelors degree in drawing and painting in 1949. He spent the year in Paris, studying with French artist Fernand Léger, then returned to UC Berkeley. Like many artists of his generation, Colescott maintained parallel careers as a committed and influential educator and he moved to the Pacific Northwest after graduation from UC Berkeley and began teaching at Portland State University. He was on there from 1957 to 1966. In 1964 he took a sabbatical with a grant from the American Research Center in Cairo. He returned to Portland for a year but went back to Egypt as a professor at the American University of Cairo from 1966 to 1967. When war broke out, he and his moved to Paris for three years. They returned to California in 1970 and he spent the next 15 years painting and teaching art at Cal State, Stanislaus, UC Berkeley, Colescott accepted a position as a visiting professor at the University of Arizona in Tucson in 1983, and joined the faculty in 1985. In 1990 he became the first art department faculty member to be honored with the title of Regents Professor, Colescotts work was included in the gallerys inaugural exhibition in 1961, and he was given his first solo show there in 1963

16.
Thomas Eakins
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Thomas Cowperthwait Eakins was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history and he painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the offer an overview of the intellectual life of Philadelphia in the late 19th and early 20th centuries, individually. These active outdoor venues allowed him to paint the subject which most inspired him, in the process he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, No less important in Eakins life was his work as a teacher. As an instructor he was an influential presence in American art. Eakins was a figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as the strongest, most profound realist in nineteenth-, Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and he was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the public school for applied science and arts in the city. He studied drawing and anatomy at the Pennsylvania Academy of the Fine Arts beginning in 1861, for a while, he followed his fathers profession and was listed in city directories as a writing teacher. His scientific interest in the body led him to consider becoming a surgeon. Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. A letter home to his father in 1868 made his aesthetic clear, She is the most beautiful thing there is in the world except a naked man, already at age 24, nudity and verity were linked with an unusual closeness in his mind. Yet his desire for truthfulness was more expansive, and the home to Philadelphia reveal a passion for realism that included, but was not limited to

17.
Childe Hassam
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Frederick Childe Hassam was an American Impressionist painter, noted for his urban and coastal scenes. Along with Mary Cassatt and John Henry Twachtman, Hassam was instrumental in promulgating Impressionism to American collectors, dealers, and museums. He produced over 3,000 paintings, oils, watercolors, etchings, and lithographs over the course of his career, Hassam was born in his family home on Olney Street in Dorchester, Boston, in 1859. His father Frederick was a moderately successful cutlery businessman with a collection of art. He descended from a line of New Englanders. His mother, Rosa, a native of Maine, shared an ancestor with American novelist Nathaniel Hawthorne and his father claimed descent from a seventeenth-century English immigrant whose name, Horsham, had been corrupted over time to Hassam. With his dark complexion and heavily lidded eyes, many took Childe Hassam to be of Middle Eastern descent - speculation which he enjoyed stoking, Hassam demonstrated an interest in art early. He had his first lessons in drawing and watercolor while attending The Mather School, as a child, Hassam excelled at boxing and swimming at Dorchester High School. A disastrous fire in November 1872 wiped out much of Bostons commercial district, Hassam left high school after two years despite his uncles offer to pay for a Harvard education. Hassam preferred to support his family by working. His father arranged a job in the department of publisher Little. During that time, Hassam studied the art of engraving and found employment with George Johnson. He quickly proved an adept draftsman and he produced designs for commercial engravings such as letterheads, around 1879, Hassam began creating his earliest oil paintings, but his preferred medium was watercolor, mostly outdoor studies. In 1882, Hassam became an illustrator, and established his first studio. He specialized in illustrating childrens stories for such as Harpers Weekly, Scribners Monthly. He continued to develop his technique while attending drawing classes at the Lowell Institute and at the Boston Art Club, by 1883, Hassam was exhibiting publicly and had his first solo exhibition, of watercolors, at the Williams and Everett Gallery in Boston. The following year, his friend Celia Thaxter convinced him to drop his first name and he also began to add a crescent symbol in front of his signature, the meaning of which remains unknown. Having had relatively little formal art training, Hassam was advised by his friend Edmund H. Garrett to take a study trip with Garrett to Europe during the summer of 1883

18.
Winslow Homer
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Winslow Homer was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th-century America, largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and he also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts in 1836, Homer was the second of three sons of Charles Savage Homer and Henrietta Benson Homer, both from long lines of New Englanders and his mother was a gifted amateur watercolorist and Homers first teacher. She and her son had a relationship throughout their lives. Homer took on many of her traits, including her quiet, strong-willed, terse, sociable nature, her dry sense of humor, Homer had a happy childhood, growing up mostly in then rural Cambridge, Massachusetts. He was a student, but his art talent was evident in his early years. Homers father was a volatile, restless businessman who was looking to make a killing. When Homer was thirteen, Charles gave up the store business to seek a fortune in the California gold rush. When that failed, Charles left his family and went to Europe to raise capital for other schemes that didnt materialize. After Homers high school graduation, his father saw a newspaper advertisement, Homers apprenticeship at the age of 19 to J. H. Bufford, a Boston commercial lithographer, was a formative but treadmill experience. He worked repetitively on sheet music covers and other work for two years. By 1857, his career was underway after he turned down an offer to join the staff of Harpers Weekly. From the time I took my nose off that lithographic stone, Homer later stated, I have had no master, Homers career as an illustrator lasted nearly twenty years. His quick success was due to this strong understanding of graphic design. Before moving to New York in 1859, Homer lived in Belmont and his uncles Belmont mansion, the 1853 Homer House, was the inspiration for a number of his early illustrations and paintings, including several of his 1860s croquet pictures. The Homer House, owned by the Belmont Womans Club, is open for public tours, in 1859, he opened a studio in the Tenth Street Studio Building in New York City, the artistic and publishing capital of the United States. Until 1863, he attended classes at the National Academy of Design, and studied briefly with Frédéric Rondel, in only about a year of self-training, Homer was producing excellent oil work

19.
George Inness
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George Inness was a prominent American landscape painter and georgist activist. Neither pure realist nor impressionist, Inness was a figure who intended for his works to combine both the earthly and the ethereal in order to capture the complete essence of a locale. In Inness’s words, he attempted through his art to demonstrate the reality of the unseen”, within his own lifetime, art critics hailed Inness as one of Americas greatest artists. George Inness was born in Newburgh, New York and he was the fifth of thirteen children born to John William Inness, a farmer, and his wife, Clarissa Baldwin. His family moved to Newark, New Jersey when he was five years of age. In 1839 he studied for months with an itinerant painter. In his teens, Inness worked as a map engraver in New York City, during this time he attracted the attention of French landscape painter Régis François Gignoux, with whom he subsequently studied. He debuted his work at the National Academy in 1844, Inness opened his first studio in New York in 1848. In 1849, he married Delia Miller, who died a few months later, the next year he married Elizabeth Abigail Hart, with whom he would have six children. In 1851 a patron named Ogden Haggerty sponsored Inness first trip to Europe to paint, Inness spent fifteen months in Rome, where he studied landscapes by Claude Lorrain and Nicolas Poussin. He also rented a studio there above that of painter William Page, in 1853 he was elected into the National Academy of Design as an Associate member and became a full Academician in 1868. During trips to Paris in the early 1850s, Inness came under the influence of working in the Barbizon school of France. Barbizon landscapes were noted for their looser brushwork, darker palette, Inness quickly became the leading American exponent of Barbizon-style painting, which he developed into a highly personal style. In 1854 his son George Inness, Jr. who also became a painter of note, was born in Paris. In the mid-1850s, Inness was commissioned by the Delaware, Lackawanna, Inness moved from New York City to Medfield, Massachusetts in 1860, where he converted a barn into a studio. In 1862-63, he was an art teacher to Charles Dormon Robinson and he then to Eagleswood, New Jersey in 1864. He returned to Europe in the spring of 1870, living in Rome and touring Tivoli, Lake Albano, in 1878, he returned to New York, taking a studio in the New York University Building. The same year, he participated in the Universal Exposition in Paris

20.
Charles Willson Peale
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Charles Willson Peale was an American painter, soldier, scientist, inventor, politician and naturalist. He is best remembered for his paintings of leading figures of the American Revolution. Peale was born in 1741 in Chester, Queen Annes County, Maryland and he had a younger brother, James Peale. Charles became an apprentice to a saddle maker when he was thirteen years old, upon reaching maturity, he opened his own saddle shop, however, when his Loyalist creditors discovered he had joined the Sons of Liberty, they conspired to bankrupt his business. He was also, not very good at saddle making and he then tried fixing clocks and working with metals, but both of these endeavors failed as well. Finding that he had a talent for painting, especially portraiture, Peale studied for a time under John Hesselius, John Beale Bordley and friends eventually raised enough money for him to travel to England to take instruction from Benjamin West. Peale studied with West for three years beginning in 1767, afterward returning to America and settling in Annapolis, Maryland, there, he taught painting to his younger brother, James Peale, who in time also became a noted artist. Peales enthusiasm for the nascent national government brought him to the capital, Philadelphia, in 1776 and his estate, which is on the campus of La Salle University in Philadelphia, can still be visited. He also raised troops for the War of Independence and eventually gained the rank of captain in the Pennsylvania militia by 1776, while in the field, he continued to paint, doing miniature portraits of various officers in the Continental Army. He produced enlarged versions of these in later years and he served in the Pennsylvania state assembly in 1779–1780, after which he returned to painting full-time. Peale was quite prolific as an artist, while he did portraits of scores of historic figures, he is probably best known for his portraits of George Washington. The first time Washington sat for a portrait was with Peale in 1772, in January 2005, a full-length portrait of Washington at Princeton from 1779 sold for $21.3 million, setting a record for the highest price paid for an American portrait. One of his most celebrated paintings is The Staircase Group, a portrait of his sons Raphaelle and Titian. It is in the collection of the Philadelphia Museum of Art, Peale had a great interest in natural history, and organized the first U. S. scientific expedition in 1801. These two major interests combined in his founding of what became the Philadelphia Museum, later known as Peales American Museum and it housed a diverse collection of botanical, biological, and archaeological specimens. Most notably, the museum contained a variety of birds which Peale himself acquired. In 1792, Peale initiated a correspondence with Thomas Hall, of the Finsbury Museum, City Road, Finsbury, eventually, an exchange system was established between the two, whereby Peale sent American birds to Hall in exchange for an equal number of British birds. This arrangement continued until the end of the century, the Peale Museum was the first to display a mastodon skeleton that Peale found in New York State

21.
Duncan Phyfe
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Duncan Phyfe was one of nineteenth-century Americas leading cabinetmakers. Born Duncan Fife near Loch Fannich, Scotland, he immigrated with his family to Albany, New York in 1784 and served as a cabinetmaker’s apprentice. By the time of his marriage in 1793, he appears in the New York directories as a joiner and he opened his own business in 1794 and was listed as a cabinetmaker in the New York Directory and Register. From his first shop on 2 Broad Street, he moved to Partition Street. A poor immigrant when he arrived in America from his native Scotland, Phyfe acquired wealth and fame through hard work, exceptional talent and he would come to count among his clients some of the nations wealthiest and most storied families. Known during his lifetime as the United States Rage, to this day remains Americas best-known cabinetmaker, establishing his reputation as a purveyor of luxury by designing high-quality furniture. His personal style, characterized by superior proportions, balance, symmetry, demand for Phyfes work reached its peak between 1805 and 1820, although he remained a dominant figure in the trade until 1847, when he retired at the age of seventy-seven. He became known as one of Americas leading cabinetmakers by selling furniture at relatively low prices. Between 1837 and 1847, Duncan Phyfe took his two sons, Michael and James, as partners and the firm went under the names D. Phyfe & Sons and after Michaels premature death. It was during the latter and final stages of the history that perhaps the greatest challenge Phyfe ever faced emerged. In 1840, one Southern planter who came to New York from Columbia, South Carolina and this is because the Phyfes always adhered to the classicist language until the end, they never fully engaged with the emerging historical revival styles that began in the 1830s. Duncan Phyfe and his son James finally closed down the business in 1847 after fifty-five years in the trade. They held an auction of the contents of their furniture warehouse. The auctioneer was Halliday & Jenkins, because Phyfes furniture was seldom signed, yet widely imitated, it is sometimes difficult to determine with accuracy which works he actually made. He is interred at Green-Wood Cemetery in Brooklyn, New York, Another exhibition took place at the Museum of Fine Arts, Houston from 24 June –9 September 2012. Duncan Phyfes furniture can be admired in the White House Green Room, Edgewater, Roper House and especially at Millford Plantation and his furniture appears in many museums and private collections as well. Karl Shapiro refers to the leg as the fine leg of a Duncan-Phyfe. Likewise, in one of the passages of the novel Tender is the Night by F. Scott Fitzgerald, he wrote, She wept all over a set that cost a fortune, one of the worlds largest roadside attraction is a giant chair located in Thomasville, North Carolina

22.
Frederic Remington
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Remington was born in Canton, New York in 1861 to Seth Pierrepont Remington and Clarissa Clara Bascom Sackrider. His paternal family owned stores and emigrated from Alsace-Lorraine in the early 18th century. His maternal family of the Bascom line was of French Basque ancestry, coming to America in the early 1600s and founding Windsor, Remingtons father was a colonel in the Civil War whose family arrived in America from England in 1637. He was an editor and postmaster, and the family was active in local politics. One of Remingtons great grandfathers, Samuel Bascom, was a saddle maker by trade, Frederic Remington was related by family bloodlines to Indian portrait artist George Catlin and cowboy sculptor Earl W. Bascom. Frederic Remington was also a cousin to Eliphalet Remington, founder of the Remington Arms Company which is considered to be Americas oldest gunmaker and he was related, as well, to three famous mountain men—Jedediah S. Smith, Jonathan T. On the Warner side of his family, Frederic Remington was related to General George Washington, colonel Remington was away at war during most of the first four years of his sons life. After the war, he moved his family to Bloomington, Illinois for a time and was appointed editor of the Bloomington Republican. Remington was the child of the marriage, and received constant attention. He was a child, large and strong for his age, who loved to hunt, swim, ride. He was a student, though, particularly in math. He began to make drawings and sketches of soldiers and cowboys at an early age, Remington took his first drawing lessons at the Institute. He enjoyed making caricatures and silhouettes of his classmates, at sixteen, he wrote to his uncle of his modest ambitions, I never intend to do any great amount of labor. I have but one life and do not aspire to wealth or fame in a degree which could only be obtained by an extraordinary effort on my part. He imagined a career for himself as a journalist, with art as a sideline, Remington attended the art school at Yale University, studying under John Henry Niemeyer. Remington was the student in the first year. He found that football and boxing were more interesting than the art training, particularly drawing from casts. He preferred action drawing and his first published illustration was a cartoon of a football player for the student newspaper Yale Courant

23.
Paul Revere
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Paul Revere was an American silversmith, engraver, early industrialist, and a Patriot in the American Revolution. He is best known for alerting the colonial militia to the approach of British forces before the battles of Lexington and Concord, as dramatized in Henry Wadsworth Longfellows poem, Paul Reveres Ride. Revere was a prosperous and prominent Boston silversmith, who helped organize an intelligence, finally in 1800 he became the first American to successfully roll copper into sheets for use as sheathing on naval vessels. Revere was born in the North End of Boston on December 21,1734, according to the Old Style calendar then in use, or January 1,1735, in the modern calendar. His father, a French Huguenot born Apollos Rivoire, came to Boston at the age of 13 and was apprenticed to the silversmith John Coney. By the time he married Deborah Hitchborn, a member of a long-standing Boston family that owned a shipping wharf, in 1729. Their son, Paul Revere, was the third of 12 children, Revere grew up in the environment of the extended Hitchborn family, and never learned his fathers native language. At 13 he left school and became an apprentice to his father, the silversmith trade afforded him connections with a cross-section of Boston society, which would serve him well when he became active in the American Revolution. As for religion, although his father attended Puritan services, Revere was drawn to the Church of England, Revere eventually began attending the services of the political and provocative Jonathan Mayhew at the West Church. His father did not approve, and as a result father, Revere relented and returned to his fathers church, although he did become friends with Mayhew, and returned to the West Church in the late 1760s. Reveres father died in 1754, when Paul was legally too young to officially be the master of the silver shop. In February 1756, during the French and Indian War, he enlisted in the provincial army, possibly he made this decision because of the weak economy, since army service promised consistent pay. He did not stay long in the army, but returned to Boston, on August 4,1757, he married Sarah Orne, their first child was born eight months later. He and Sarah had eight children, but two died young, and only one, Mary, survived her father, business was so poor that an attempt was made to attach his property in late 1765. To help make ends meet he took up dentistry, a skill set he was taught by a practicing surgeon who lodged at a friends house. One client was Doctor Joseph Warren, a physician and political opposition leader with whom Revere formed a close friendship. Revere and Warren, in addition to having common political views, were both active in the same local Masonic lodges. Although Revere was not one of the Loyal Nine—organizers of the earliest protests against the Stamp Act—he was well connected with its members, Revere did not participate in some of the more raucous protests, such as the attack on the home of Lieutenant Governor Thomas Hutchinson

24.
Augustus Saint-Gaudens
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Augustus Saint-Gaudens was an American sculptor of the Beaux-Arts generation who most embodied the ideals of the American Renaissance. In his later years he founded the Cornish Colony, a colony that included notable painters, sculptors, writers. His brother Louis Saint-Gaudens was also a sculptor with whom he occasionally collaborated. Born in Dublin to a French father and an Irish mother, Saint-Gaudens was raised in New York, in 1861, he became an apprentice to a cameo-cutter, Louis Avet, and took evening art classes at the Cooper Union. Two years later, he was hired as an apprentice of Jules Le Brethon, another cameo cutter, at age 19, his apprenticeship completed and he traveled to Paris in 1867, where he studied in the atelier of François Jouffroy at the École des Beaux-Arts. In 1870, he left Paris for Rome, to art and architecture. Pierrepont, a phrenologist, proved to be a demanding client insisting that Saint-Gaudens make his head larger, in 1876, he won a commission for a bronze David Farragut Memorial. He rented a studio at 49 rue Notre Dame des Champs and it was unveiled on May 25,1881, in Madison Square Park. The statue stood on a 300-foot-high tower, making Diana the highest point in the city and it was also the first statue in that part of Manhattan to be lit at night by electricity. The statue and its tower was a landmark until 1925 when the building was demolished, in New York, he was a member of the Tilers, a group of prominent artists and writers, including Winslow Homer, William Merritt Chase and Arthur Quartley. He was also a member of the Salmagundi Club in New York, two grand equestrian monuments to Civil War generals are outstanding, to General John A. For the Lincoln Centennial in 1909, Saint-Gaudens produced another statue of the president, a seated figure, Abraham Lincoln, The Head of State, is in Chicagos Grant Park. Saint-Gaudens completed the work and had begun casting the statue at the time of his death—his workshop completed it. The statues head was used as the model for the postage stamp issued on the 100th anniversary of Lincolns birth. Saint-Gaudens also created the statue for the monument of Charles Stewart Parnell, with minor modifications, this medallion was reproduced for the Stevenson memorial in St. Giles Cathedral, Edinburgh. Stevensons cousin and biographer, Graham Balfour, deemed the work the most satisfactory of all the portraits of Stevenson, Balfour also noted that Saint-Gaudens greatly admired Stevenson and had once said he would gladly go a thousand miles for the sake of a sitting with him. Such pieces stand testament to both his appeal and the respect that was given to him by his contemporaries. His medals have been sold at auction for varying sums, a statue of philanthropist Robert Randall stands in the gardens of Sailors Snug Harbor in New York

25.
John Singer Sargent
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John Singer Sargent was an American artist, considered the leading portrait painter of his generation for his evocations of Edwardian era luxury. During his career, he created roughly 900 oil paintings and more than 2,000 watercolors, as well as countless sketches and his oeuvre documents worldwide travel, from Venice to the Tyrol, Corfu, the Middle East, Montana, Maine, and Florida. His parents were American, but he was trained in Paris prior to moving to London and his commissioned works were consistent with the grand manner of portraiture, while his informal studies and landscape paintings displayed a familiarity with Impressionism. In later life Sargent expressed ambivalence about the restrictions of formal portrait work and he lived most of his life in Europe. Art historians generally ignored the society such as Sargent until the late 20th century. Before Sargents birth, his father, FitzWilliam, was an eye surgeon at the Wills Eye Hospital in Philadelphia 1844–1854, after Johns older sister died at the age of two, his mother, Mary, suffered a breakdown, and the couple decided to go abroad to recover. They remained nomadic expatriates for the rest of their lives, although based in Paris, Sargents parents moved regularly with the seasons to the sea and the mountain resorts in France, Germany, Italy, and Switzerland. While Mary was pregnant, they stopped in Florence, Tuscany, Sargent was born there in 1856. A year later, his sister Mary was born, after her birth, FitzWilliam reluctantly resigned his post in Philadelphia and accepted his wifes entreaties to remain abroad. They lived modestly on an inheritance and savings, living a quiet life with their children. They generally avoided society and other Americans except for friends in the art world, four more children were born abroad, of whom only two lived past childhood. Although his father was a patient teacher of basic subjects, young Sargent was a rambunctious child, as his father wrote home, He is quite a close observer of animated nature. His mother was convinced that traveling around Europe, and visiting museums and churches. Several attempts to have him formally schooled failed, owing mostly to their itinerant life, Sargents mother was a fine amateur artist and his father was a skilled medical illustrator. Early on, she gave him sketchbooks and encouraged drawing excursions, young Sargent worked with care on his drawings, and he enthusiastically copied images from The Illustrated London News of ships and made detailed sketches of landscapes. FitzWilliam had hoped that his sons interest in ships and the sea might lead him toward a naval career, at thirteen, his mother reported that John sketches quite nicely, & has a remarkably quick and correct eye. If we could afford to give him really good lessons, he would soon be quite a little artist, at the age of thirteen, he received some watercolor lessons from Carl Welsch, a German landscape painter. Although his education was far from complete, Sargent grew up to be a literate and cosmopolitan young man, accomplished in art, music

26.
Gilbert Stuart
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Gilbert Charles Stuart was an American painter from Rhode Island. Gilbert Stuart is widely considered one of Americas foremost portraitists and his best known work is the unfinished portrait of George Washington that is sometimes referred to as The Athenaeum, begun in 1796 and never finished. Stuart retained the portrait and used it to paint 130 copies which he sold for $100 each, throughout his career, Gilbert Stuart produced portraits of over 1,000 people, including the first six Presidents of the United States. C. The National Portrait Gallery, London, Worcester Art Museum in Massachusetts, Gilbert Stuart was born on December 3,1755 in Saunderstown, Rhode Island, a village of North Kingstown, and baptized at Old Narragansett Church on April 11,1756. Stuarts father worked in the first colonial snuff mill in America, Gilbert Stuart moved to Newport, Rhode Island at the age of six, where his father pursued work in the merchant field. In Newport, Stuart first began to show promise as a painter. In 1770, Stuart made the acquaintance of Scottish artist Cosmo Alexander, a visitor of the colonies who made portraits of local patrons and who became a tutor to Stuart. Under the guidance of Alexander, Stuart painted the famous portrait Dr. Hunters Spaniels when he was fourteen years old, the painting is also referred to as Dr. Hunters Dogs by some accounts. In 1771, Stuart moved to Scotland with Alexander to finish his studies, Stuart tried to maintain a living and pursue his painting career, but to no avail, so he returned to Newport in 1773. Stuarts prospects as a portraitist were jeopardized by the onset of the American Revolution, Stuart departed for England in 1775 following the example set by John Singleton Copley. He was unsuccessful at first in pursuit of his vocation, the relationship was beneficial, with Stuart exhibiting at the Royal Academy as early as 1777. By 1782, Stuart had met with success, largely due to acclaim for The Skater, Stuart said that he was suddenly lifted into fame by a single picture. At one point, the prices for his pictures were exceeded only by those of renowned English artists Joshua Reynolds, despite his many commissions, however, Stuart was habitually neglectful of finances and was in danger of being sent to debtors prison. In 1787, he fled to Dublin, Ireland where he painted and accumulated debt with equal vigor, Stuart ended his 18-year stay in Britain and Ireland in 1793, leaving behind numerous unfinished paintings. He returned to the United States and settled briefly in New York City, in 1795, he moved to Germantown, Pennsylvania, near Philadelphia, where he opened a studio. It was here that he gained a foothold in the art world, Stuart painted George Washington in a series of iconic portraits, each of them leading in turn to a demand for copies, and keeping Stuart busy and highly paid for years. The most famous and celebrated of these likenesses is known as The Athenaeum and is portrayed on the United States one dollar bill. Stuart, along with his daughters, painted a total of 130 reproductions of The Athenaeum, however, he never completed the original version, after finishing Washingtons face, he kept the original version to make the copies

27.
Yves Tanguy
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Raymond Georges Yves Tanguy, known as Yves Tanguy, was a French surrealist painter. Tanguy, the son of a navy captain, was born at the Ministry of Naval Affairs on Place de la Concorde in Paris. His parents were both of Breton origin, after his fathers death in 1908, his mother moved back to her native Locronan, Finistère, and he ended up spending much of his youth living with various relatives. In 1918, Tanguy briefly joined the merchant navy before being drafted into the Army, at the end of his military service in 1922, he returned to Paris, where he worked various odd jobs. He stumbled upon a painting by Giorgio de Chirico and was so impressed he resolved to become a painter himself in spite of his complete lack of formal training. Tanguy had a habit of being absorbed by the current painting he was working on. This way of creating artwork may have due to his very small studio which only had enough room for one wet piece. Through his friend Prévert, in around 1924 Tanguy was introduced into the circle of surrealist artists around André Breton. Tanguy quickly began to develop his own painting style, giving his first solo exhibition in Paris in 1927. During this busy time of his life, Breton gave Tanguy a contract to paint 12 pieces a year, with his fixed income, he painted less and ended up creating only eight works of art for Breton. Throughout the 1930s, Tanguy adopted the lifestyle of the struggling artist with gusto. He had an affair with Peggy Guggenheim in 1938 when he went to London with his wife Jeannette Ducrocq to hang his first retrospective exhibition in Britain at her gallery Guggenheim Jeune. The exhibition was a success and Guggenheim wrote in her autobiography that Tanguy found himself rich for the first time in his life. She purchased his pictures Toilette de LAir and The Sun in Its Jewel Case for her collection, Tanguy also painted Peggy two beautiful earrings. The affair continued in both London and Paris and only finished when Tanguy met a fellow Surrealist artist who would become his second wife. In 1938, after seeing the work of fellow artist Kay Sage, with the outbreak of World War II, Sage moved back to her native New York, and Tanguy, judged unfit for military service, followed her. He would spend the rest of his life in the United States, Sage and Tanguy were married in Reno, Nevada on August 17,1940. Toward the end of the war, the moved to Woodbury, Connecticut

28.
Louis Comfort Tiffany
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Louis Comfort Tiffany was an American artist and designer who worked in the decorative arts and is best known for his work in stained glass. He is the American artist most associated with the Art Nouveau, Tiffany was affiliated with a prestigious collaborative of designers known as the Associated Artists, which included Lockwood de Forest, Candace Wheeler, and Samuel Colman. Tiffany designed stained glass windows and lamps, glass mosaics, blown glass, ceramics, jewelry, enamels and he was the first Design Director at his family company, Tiffany & Co. founded by his father Charles Lewis Tiffany. Louis Comfort Tiffany was born in New York City, the son of Charles Lewis Tiffany, founder of Tiffany and Company and he attended school at Pennsylvania Military Academy in West Chester, Pennsylvania, and Eagleswood Military Academy in Perth Amboy, New Jersey. His first artistic training was as a painter, studying under George Inness in Eagleswood, New Jersey and Samuel Colman in Irvington and he also studied at the National Academy of Design in New York City in 1866–67 and with salon painter Leon-Adolphe-Auguste Belly in 1868–69. Bellys landscape paintings had a influence on Tiffany. Tiffany started out as a painter, but became interested in glassmaking from about 1875, in 1879, he joined with Candace Wheeler, Samuel Colman and Lockwood de Forest to form Louis Comfort Tiffany and Associated American Artists. The business was short-lived, lasting four years. The group made designs for wallpaper, furniture, and textiles and he later opened his own glass factory in Corona, New York, determined to provide designs that improved the quality of contemporary glass. Tiffanys leadership and talent, as well as his fathers money and connections and he commissioned Tiffany, who had begun to make a name for himself in New York society for the firms interior design work, to redo the state rooms, which Arthur found charmless. The Tiffany screen and other Victorian additions were all removed in the Roosevelt renovations of 1902, a desire to concentrate on art in glass led to the breakup of the firm in 1885 when Tiffany chose to establish his own glassmaking firm that same year. The first Tiffany Glass Company was incorporated December 1,1885, in the beginning of his career, Tiffany used cheap jelly jars and bottles because they had the mineral impurities that finer glass lacked. When he was unable to convince fine glassmakers to leave the impurities in, Tiffany used opalescent glass in a variety of colors and textures to create a unique style of stained glass. Use of the glass itself to create stained glass pictures was motivated by the ideals of the Arts and Crafts movement. Tiffany, Duffner and Kimberly, along with La Farge, had learned their craft at the same glasshouses in Brooklyn in the late 1870s. In 1889 at the Paris Exposition, he is said to have been Overwhelmed by the work of Émile Gallé. He also met artist Alphonse Mucha, in 1893, his company also introduced the term Favrile in conjunction with his first production of blown glass at his new glass factory. Some early examples of his lamps were exhibited in the 1893 Worlds Fair in Chicago, at the Exposition Universelle in Paris, he won a gold medal with his stained glass windows The Four Seasons He trademarked Favrile on November 13,1894

29.
William T. Williams
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William T. Williams is an American painter. He is Professor of Art at Brooklyn College, City University of New York, Williams is a recipient of numerous awards including a John Simon Guggenheim Fellowship, two National Endowment for the Arts Awards, and a Joan Mitchell Foundation Award. He is also a recipient of the Studio Museum in Harlems Artist Award in 1992 and he received the 2006 North Carolina Governors Award for Fine Arts, the highest civilian honor the state can bestow. He has exhibited in over 100 museums and art centers in the United States, France, Germany, Russia, Venezuela, Nigeria, Ivory Coast, Peoples Republic of China, Williams is a New York painter with roots in the American South. He spent his childhood in Spring Lake, North Carolina. After the familys move to the North, his art talent was recognized by the head of a community center. He attended the School of Industrial Art in Manhattan, which many of its classes at the Museum of Modern Art. In 1962 Williams entered Pratt Institute to study painting, during his junior year, he won a summer scholarship to The Skowhegan School of Art and received a National Endowment for the Arts traveling grant. He received a Bachelor of Fine Arts degree from Pratt Institute in 1966, in 1968 he received a Master of Fine Arts degree from Yale University School of Art and Architecture. Williams quickly gained attention from the art world. The Museum of Modern Art acquired his composition Elbert Jackson L. A. M. F, part II in 1969, and by 1970 his work was being exhibited at the Fondation Maeght in the south of France. In 1969 he participated in The Black Artist in America, A Symposium and he also took part in numerous exhibitions including the Studio Museum in Harlems Inaugural Show, X to the Fourth Power, and New Acquisitions held at the Museum of Modern Art. In 1970 Williams was commissioned by the Jewish Museum, and the Menil Collection in Houston, the trustees of the Studio Museum in Harlem read my proposal, interviewed me and hired me to start an Artist-in-Residence program. That program had its start at the first site of the Museum over the store on Fifth Avenue. It was a loft, a factory going out of business that had a lot of sewing machines in it, mel Edwards and I physically cleaned that space out for the Artist-in-Residence program. Kinshasa Conwill, former director of the museum, says that the program has become critical to the museums identity, Williams first one-man show at New Yorks Reese Palley Gallery in 1971 resulted in the sale of every painting. The same year, the Whitney Museum of American Art exhibited his work twice, collectors such as AT&T and General Mills purchased his art, valerie J. Williams relief from color-field painting was celebrated in the new works completed between 1971–77, such as Equinox and Indian Summer. In 1975 William also took part in an artist in residence program at Fisk University in Nashville, in 1977, Williams participated in the second World Festival of Black Arts and African Culture in Lagos, Nigeria

30.
James McNeill Whistler
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James Abbott McNeill Whistler was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a proponent of the credo art for arts sake. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail, the symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings arrangements, harmonies, and nocturnes and his most famous painting is Arrangement in Grey and Black No. 1, commonly known as Whistlers Mother, the revered and oft-parodied portrait of motherhood, Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts, on July 10,1834 and his father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, today, the house is a museum dedicated to Whistler. During the Ruskin trial, Whistler claimed St. Petersburg, Russia, as his birthplace, declaring, I shall be born when and where I want, in 1837, the Whistlers moved from Lowell to Stonington, Connecticut, where George Whistler worked for the Stonington Railroad. Sadly, during this period, three of George and Anna Whistlers children died in infancy, in 1839, the Whistlers fortunes improved considerably when George Whistler received the appointment that would make his fortune and fame - that of chief engineer for the Boston & Albany Railroad. Thus, the moved to Springfield, Massachusetts, then one of the United States most prosperous cities. The Whistlers lived in Springfield until they left the United States in late 1842, Nicholas I of Russia learned of George Whistlers ingenuity in engineering the Boston & Albany Railroad, and offered Whistler a position in 1842 engineering a railroad from St. Petersburg to Moscow. In the winter of 1842, the Whistlers moved from Springfield to St. Petersburg, in later years, James Whistler played up his mothers connection to the American South and its roots, and presented himself as an impoverished Southern aristocrat. After her death, he adopted her name, using it as an additional middle name. Young Whistler was a moody child prone to fits of temper and insolence and his parents discovered in his early youth that drawing often settled him down and helped focus his attention. Beginning in 1842, his father was employed to work on a railroad in Russia, after moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. In 1844, he met the noted artist Sir William Allan, Whistlers mother noted in her diary, the great artist remarked to me Your little boy has uncommon genius, but do not urge him beyond his inclination. In 1847-48, his family spent some time in London with relatives, Whistlers brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a set with instruction

31.
Ishtar Gate
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The Ishtar Gate was the eighth gate to the inner city of Babylon. It was constructed in about 575 BCE by order of King Nebuchadnezzar II on the side of the city. It was excavated in the early 20th century and a reconstruction using original bricks is now shown in the Pergamon Museum, Berlin. Dedicated to the Babylonian goddess Ishtar, the gate was constructed using glazed brick with alternating rows of bas-relief mušḫuššu and aurochs, symbolizing the gods Marduk, the roof and doors of the gate were of cedar, according to the dedication plaque. The gate was covered in lapis lazuli, a deep-blue semi-precious stone that was revered in antiquity due to its vibrancy and these blue glazed bricks would have given the façade a jewel-like shine. Through the gate ran the Processional Way, which was lined with walls showing about 120 lions, bulls, dragons and flowers on enameled yellow and black glazed bricks, the gate itself depicted only gods and goddesses. These included Ishtar, Adad and Marduk, during celebrations of the New Year, statues of the deities were paraded through the gate and down the Processional Way. The gate, being part of the Walls of Babylon, was considered one of the original Seven Wonders of the World and it was replaced on that list by the Lighthouse of Alexandria from the third century BC. A reconstruction of the Ishtar Gate and Processional Way was built at the Pergamon Museum in Berlin out of material excavated by Robert Koldewey and it stands 14 m high and 30 m wide. The excavation ran from 1902 to 1914, and, during time,14 m of the foundation of the gate was uncovered. Claudius James Rich, British resident of Baghdad and a self-taught historian, acting as a scholar and collecting field data, he was determined to discover the wonders to the ancient world. C. J. Richs topographical records of the ruins in Babylon were the first ever published and it was reprinted in England no fewer than three times. C. J. Robert Koldewey, a successful German excavator, had previous work for the Royal Museum of Berlin, with his excavations at Surghul. Koldeweys part in Babylons excavation began in 1899, the method that the British were comfortable with was excavating tunnels and deep trenches, which was damaging the mud brick architecture of the foundation. Instead, it was suggested that the team focus on tablets. Despite the destructive nature of the used, the recording of data was immensely more thorough than in previous Mesopotamian excavations. Walter Andre, one of Koldeweys many assistants, was an architect and a draftsman and his contribution was documentation and reconstruction of Babylon. A small museum was built at the site and Andre was the museums first director, one of most complex and impressive architectural reconstructions in the history of archaeology, was the rebuilding of Babylons Ishtar gate and processional way in Berlin

Ishtar Gate
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The reconstruction of the Ishtar Gate in the Pergamon Museum in Berlin
Ishtar Gate
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An aurochs above a flower ribbon; missing tiles are replaced
Ishtar Gate
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Pergamon Museum, Ishtar gate
Ishtar Gate
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Photo of the remains from the 1930s of the excavation site in Babylon

32.
Babylon
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Babylon was a major city of ancient Mesopotamia in the fertile plain between the Tigris and Euphrates rivers. The city was built upon the Euphrates and divided in parts along its left and right banks. Babylon was originally a small Semitic Akkadian city dating from the period of the Akkadian Empire c.2300 BC, the town attained independence as part of a small city-state with the rise of the First Amorite Babylonian Dynasty in 1894 BC. Babylon grew and South Mesopotamia came to be known as Babylonia, the empire quickly dissolved after Hammurabis death and Babylon spent long periods under Assyrian, Kassite and Elamite domination. After being destroyed and then rebuilt by the Assyrians, Babylon became the capital of the Neo-Babylonian Empire from 609 to 539 BC, the Hanging Gardens of Babylon was one of the Seven Wonders of the Ancient World. After the fall of the Neo-Babylonian Empire, the city came under the rule of the Achaemenid, Seleucid, Parthian, Roman, and Sassanid empires. It has been estimated that Babylon was the largest city in the world from c.1770 to 1670 BC and it was perhaps the first city to reach a population above 200,000. Estimates for the extent of its area range from 890 to 900 hectares. The remains of the city are in present-day Hillah, Babil Governorate, Iraq, about 85 kilometres south of Baghdad, comprising a large tell of broken mud-brick buildings, the English Babylon comes from Greek Babylṓn, a transliteration of the Akkadian Babili. The Babylonian name in the early 2nd millennium BC had been Babilli or Babilla, by the 1st millennium BC, it had changed to Babili under the influence of the folk etymology which traced it to bāb-ili. The Gate of God or Gate of El being from the Aramaic Hebrew Bab for Gate and El for God and this being similar to the Hebrew word for confusion Balal. In the Bible, the name appears as Babel, interpreted in the Hebrew Scriptures Book of Genesis to mean confusion, the modern English verb, to babble, or to speak meaningless words, is popularly thought to derive from this name, but there is no direct connection. The remains of the city are in present-day Hillah, Babil Governorate, Iraq, about 85 kilometers south of Baghdad, comprising a large tell of broken mud-brick buildings and debris. The site at Babylon consists of a number of mounds covering an area of about 2 by 1 kilometer, oriented north to south, along the Euphrates to the west. Originally, the river roughly bisected the city, but the course of the river has since shifted so that most of the remains of the western part of the city are now inundated. Some portions of the city wall to the west of the river also remain, remains of the city include, Kasr—also called Palace or Castle, it is the location of the Neo-Babylonian ziggurat Etemenanki and lies in the center of the site. Amran Ibn Ali—the highest of the mounds at 25 meters, to the south and it is the site of Esagila, a temple of Marduk which also contained shrines to Ea and Nabu. Homera—a reddish colored mound on the west side, most of the Hellenistic remains are here

Babylon
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A partial view of the ruins of Babylon from Saddam Hussein 's Summer Palace
Babylon
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Plan of Ruins of Babylon, 1905
Babylon
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Babylon in 1932
Babylon
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The Queen of the Night relief. The figure could be an aspect of the goddess Ishtar, Babylonian goddess of sex and love.

33.
Giovanni Bellini
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Giovanni Bellini was an Italian Renaissance painter, probably the best known of the Bellini family of Venetian painters. His father was Jacopo Bellini, his brother was Gentile Bellini and he is considered to have revolutionized Venetian painting, moving it towards a more sensuous and colouristic style. Through the use of clear, slow-drying oil paints, Giovanni created deep, rich tints and his sumptuous coloring and fluent, atmospheric landscapes had a great effect on the Venetian painting school, especially on his pupils Giorgione and Titian. Giovanni Bellini was born in Venice and he was brought up in his fathers house, and always lived and worked in the closest fraternal relation with his brother Gentile. Up until the age of nearly thirty we find in his work a depth of religious feeling and his paintings from the early period are all executed in the old tempera method, the scene is softened by a new and beautiful effect of romantic sunrise color. Giovannis early works have often been linked both compositionally and stylistically to those of his brother-in-law, Andrea Mantegna, none of the masters works of this kind, whether painted for the various schools or confraternities or for the ducal palace, have survived. As is the case with a number of his brother, Gentiles public works of the period, the still more famous altar-piece painted in tempera for a chapel in the church of S. Giovanni e Paolo, where it perished along with Titians Peter Martyr, after 1479–1480 much of Giovannis time and energy must also have been taken up by his duties as conservator of the paintings in the great hall of the Doges Palace. Of the other, the class of his work, including both altar-pieces with many figures and simple Madonnas, a considerable number have fortunately been preserved. The old intensity of pathetic and devout feeling gradually fades away and gives place to a noble, if more worldly, serenity, the full splendour of Venetian color invests alike the figures, their architectural framework, the landscape and the sky. An interval of years, no doubt chiefly occupied with work in the Hall of the Great Council, seems to separate the San Giobbe Altarpiece. Formally, the works are similar, so a comparison between serves to illustrate the shift in Bellinis work over the last decade of the 15th century. Both pictures are of the Holy Conversation type, both show the Madonna seated on a throne, between classicizing columns. Both place the holy figures beneath a golden mosaicked half dome that recalls the Byzantine architecture in the basilica of St. Mark. Stylistically, the lighting in the San Zaccaria piece has become so soft, Giovannis use of the oil medium had matured, and the holy figures seem to be swathed in a still, rarefied air. The San Zaccaria is considered perhaps the most beautiful and imposing of all Giovannis altarpieces, and is dated 1505, the last ten or twelve years of the masters life saw him besieged with more commissions than he could well complete. In 1505 she endeavoured through Cardinal Bembo to obtain from him another picture, what the subject of this piece was, or whether it was actually delivered, we do not know. In 1513 Giovannis position as master in charge of the paintings in the Hall of the Great Council was threatened by one of his former pupils

34.
Rembrandt van Rijn
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Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month

35.
Self-portraits by Vincent van Gogh
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This article refers to self portraits and portraits of Vincent van Gogh. It includes self-portraits, portraits of him by artists, and photographs. Van Goghs dozens of self-portraits were an important part of his oeuvre as a painter. Most probably, van Goghs self-portraits are depicting the face as it appeared in the mirror he used to reproduce his face, the first self-portrait by van Gogh that survived, is dated 1886. All the self-portraits executed in Saint-Rémy show the head from the left. No self-portraits were executed by van Gogh in Auvers-sur-Oise, during the weeks of his life. F208a, Self-Portrait with Dark Felt Hat is amongst the earliest of Vincents self-portraits and it was discovered late in the family collection and was not exhibited before 1945. Opinions differ about the date and place of its execution, de la Faille thought it painted in Antwerp before 1886, while Hulsker thought it painted in Paris in spring 1886. Hendriks and Tilborgh opt for autumn 1886, based on its resemblance to Vincents work that winter when he began to embrace Neo-impressionism, x-ray analysis reveals a nude figure study below. Since students did not work from the model at Antwerp. There is no work in Vincents oeuvre which complements this portrait. However Hendriks and Tilborgh are satisfied that the painting is consistent with others executed at the beginning, marc Edo Tralbaut, Vincents principal biographer, especially valorised the portrait, selecting it for the dust-jacket of his biography and stating that Vincent had laid himself bare for the portrait. Tralbaut notes that Vincent painted a number of self-portraits at this time and he was in poor health and his teeth were falling out, prompting him to grow a moustache to conceal them. At this time he was wearing city-clothes in an effort to stress his middle-class background as he strove to establish a career for himself as an artist. F627, This painting may have been van Goghs last self-portrait, f525, This painting may have been van Goghs last self-portrait, which he gave to his mother as a birthday gift. Van Gogh painted Self-Portrait without beard just after he had shaved himself, the painting can be seen in the third version of Bedroom in Arles at the Musée dOrsay. The self-portrait is one of the most expensive paintings of all time, at the time, it was the third most expensive painting ever sold. F476, Vincent van Gogh, Arles, gift, to Paul Gauguin, sold

36.
Henri Matisse
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Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910

37.
Auguste Rodin
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François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart

38.
Jean-Baptiste Carpeaux
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Jean-Baptiste Carpeaux was a French sculptor and painter during the Second Empire under Napoleon III. Born in Valenciennes, Nord, son of a mason, his studies were under François Rude. Carpeaux entered the École des Beaux-Arts in 1844 and won the Prix de Rome in 1854, staying in Rome from 1854 to 1861, he obtained a taste for movement and spontaneity, which he joined with the great principles of baroque art. Carpeaux sought real life subjects in the streets and broke with the classical tradition, Carpeaux debuted at the Salon in 1853 exhibiting La Soumission dAbd-el-Kader alEmperuer, a bas-relief in plaster that did not attract much attention. Carpeaux was an admirer of Napoléon III and followed him from city to city during Napoléons official trip through the north of France, Carpeaux soon grew tired of academicism and became a wanderer on the streets of Rome. He spent free time admiring the frescoes of Michelangelo at the Sistine Chapel, Carpeaux said, When an artist feels pale and cold, he runs to Michelangelo in order to warm himself, as with the rays of the sun. While a student in Rome, Carpeaux submitted a version of Pêcheur napolitain à la coquille. He carved the marble version several years later, showing it in the Salon exhibition of 1863 and it was purchased for Napoleon IIIs empress, Eugénie. The statue of the smiling boy was very popular, and Carpeaux created a number of reproductions and variations in marble. There is a copy, for instance, in the Samuel H. Kress Collection in the National Gallery of Art in Washington, some years later, he carved the Girl with a Shell, a very similar study. In 1861, he made a bust of Princess Mathilde, then in 1866, he established his own atelier in order to reproduce and make work on a grander scale. In 1866, he was awarded the chevalier of the Legion of Honour and he employed his brother as the sales manager and made a calculated effort to produce work that would appeal to a larger audience. On 12 October 1875, he died at the Chateau de Bécon, among his students were Jules Dalou, Jean-Louis Forain and the American sculptor Olin Levi Warner. Carpeaux died at age 48 in Courbevoie, ugolin et ses fils with versions in other museums including the Musée dOrsay, Paris. Partly complete at his death, Carpeaux finished the terrestrial globe with the points represented by the four figures of Asia, Europe. LAmour à la folie, part of a group La danse for the facade of the Opera Garnier A page from insecula

Jean-Baptiste Carpeaux
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The Seasons turning the celestial Sphere for the Fountain of the Observatory, Jardin du Luxembourg
Jean-Baptiste Carpeaux
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Illustration of Carpeaux by Étienne Bocourt in the Illustrated Sporting and Dramatic News, after his death. His Flore is below him, and other work above
Jean-Baptiste Carpeaux
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Patinated plaster model for Valenciennes defending the arts of peace with the arts of war
Jean-Baptiste Carpeaux
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La Danse (The Dance), for the Opera Garnier, heavily criticized as being indecent

39.
Franz Marc
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Franz Marc was a German painter and printmaker, one of the key figures of the German Expressionist movement. He was a member of Der Blaue Reiter, a journal whose name later became synonymous with the circle of artists collaborating in it. Franz Marc was born in 1880 in Munich, then the capital of the Kingdom of Bavaria and his father, Wilhelm Marc, was a professional landscape painter, his mother, Sophie, was a homemaker and a devout, socially liberal Calvinist. In 1900 Marc began to study at the Academy of Fine Arts, Munich, in 1903 and 1907, he spent time in France, particularly in Paris, visiting the museums in the city and copying many paintings, a traditional way for artists to study and develop technique. In Paris, Marc frequented artistic circles, meeting numerous artists and he discovered a strong affinity for the work of painter Vincent van Gogh. In 1906, Marc traveled with his elder brother Paul, a Byzantine expert, to Thessaloniki, Mount Athos, a few years later, in 1910, Marc developed an important friendship with the artist August Macke. In 1910 Marc painted Nude with Cat and Grazing Horses, Marc showed several of his works in the first Der Blaue Reiter exhibition at the Thannhauser Galleries in Munich between December 1911 and January 1912. As it was the apex of the German expressionist movement, the exhibit also showed in Berlin, Cologne, Hagen and he painted The Tiger and Red Deer in 1912 and The Tower of Blue Horses, Foxes, and Fate of the Animals in 1913. With the outbreak of World War I in 1914, Marc was drafted into the German Army as a cavalryman, by February 1916, as shown in a letter to his wife, he had gravitated to military camouflage. His technique for hiding artillery from aerial observation was to paint canvas covers in broadly pointillist style, after mobilization of the German Army, the government identified notable artists to be withdrawn from combat for their own safety. Marc was on the list but was struck in the head, Marc made some sixty prints in woodcut and lithography. Most of his mature work portrays animals, usually in natural settings and his work is characterized by bright primary color, an almost cubist portrayal of animals, stark simplicity and a profound sense of emotion. Even in his own time, his work attracted notice in influential circles. ”One of Marcs best-known paintings is Tierschicksale, Marc had completed the work in 1913, when the tension of impending cataclysm had pervaded society, as one art historian noted. On the rear of the canvas, Marc wrote, Und Alles Sein ist flammend Leid, serving in World War I, Marc wrote to his wife about the painting, is like a premonition of this war—horrible and shattering. I can hardly conceive that I painted it and his family house in Munich is marked with a historical plaque. In October 1998, several of Marcs paintings garnered record prices at Christies art auction house in London, including Rote Rehe I, in October 1999, his Der Wasserfall was sold by Sothebys in London to a private collector for $5. 06m. This price set a record for both Franz Marcs work, and twentieth-century German painting, during his twenties, Marc was involved in a number of stormy relationships, including an affair lasting for many years with Annette Von Eckardt, a married antique dealer nine years his senior. He married twice, first to Marie Schnür, then to Maria Franck, both were artists

40.
Karl Schmidt-Rottluff
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Karl Schmidt-Rottluff was a German expressionist painter and printmaker, he was one of the four founders of the artist group Die Brücke. Schmidt-Rottluff was born in Rottluff, nowadays a district of Chemnitz and he attended the humanistische gymnasium in Chemnitz. The group was founded in Dresden on 7 June 1905, in 1906 he added Rottluff to his surname. He spent the summer of year on the island of Alsen. From 1907 to 1912 he spent the summers on the coast at Dangast, in December 1911, he and the other members of Die Brücke moved from Dresden to Berlin. The group was dissolved in 1913, in 1924 the art historian Rosa Schapire who had been a long-time supporter, and sometimes model, published a catalogue of Schmidt-Rottluffs graphic works. The honours bestowed on Schmidt-Rottluff after World War I, as Expressionism was officially recognized in Germany, were away from him after the rise to power of the Nazis. He was expelled from the Prussian Academy of Arts in 1933, in 1937,608 of Schmidt-Rottluffs paintings were seized from museums by the Nazis and several of them shown in exhibitions of degenerate art. By 1941 he had expelled from the painters guild and forbidden to paint. An endowment made by him in 1964 provided the basis for the Brücke Museum in West Berlin and he was a prolific printmaker, with 300 woodcuts,105 lithographs,70 etchings, and 78 commercial prints described in Rosa Schapires Catalogue raisonné. He died in Berlin in 1976, Schmidt-Rottluffs works are included in the collections of, among others, the Museum of Modern Art, New York, the Neue Galerie, New York, the Los Angeles County Museum of Art. The Museum am Theaterplatz in Chemnitz has a collection of work from Schmidt-Rottluff. A German government panel, led by former constitutional judge Jutta Limbach, had ruled that the loss was almost certainly a result of Nazi persecution. Schmidt Rottluffs esteemed Self Portrait with Monocle is now currently in the Staatliche Museum, in 1997, £925,500 was paid for Schmidt-Rottluffs Dangaster Park at Sothebys in London. At a 2001 Phillips de Pury auction, British art dealer James Roundell bought Schmidt-Rottluffs The Reader for $3.9 million. The top price paid at auction for a work by Schmidt-Rottluff was almost $6 million for Akte im Freien – Drei badende Frauen at Christie’s in London in 2008. Letter from Adolf Ziegler about the Nazi seizure of work, departure from the Akademie der Künste Media related to Karl Schmidt-Rottluff at Wikimedia Commons Quotations related to Karl Schmidt-Rottluff at Wikiquote

41.
Emil Nolde
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Emil Nolde was a German-Danish painter and printmaker. He was one of the first Expressionists, a member of Die Brücke and he is known for his brushwork and expressive choice of colors. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise somber tones and his watercolors include vivid, brooding storm-scapes and brilliant florals. Noldes intense preoccupation with the subject of flowers reflects his continuing interest in the art of Vincent van Gogh, Emil Nolde was born as Emil Hansen near the village of Nolde, in the Prussian Duchy of Schleswig. His parents, devout Protestants, were Frisian and Danish peasants and he realized his unsuitability for farm life and that he and his three brothers were not at all alike. Between 1884 and 1891, he studied to become a carver and illustrator in Flensburg and he spent his years of travel in Munich, Karlsruhe and Berlin. In 1889, he gained entrance into the School of Applied Arts in Karlsruhe, from 1892 to 1898 he was a drawing instructor at the school of the Museum of Industrial and Applied Arts in St. Gallen, Switzerland. He eventually left this job to pursue his dream of becoming an independent artist. As a child he had loved to paint and draw, and he became a member of the revolutionary expressionist group Die Brücke, of Dresden, in 1906, upon the groups invitation. This association lasted only until the end of the following year, from 1908 to 1910 he was a member of the Berlin Secession, before being excluded in 1910 due to a disagreement with the leadership. In 1912 he exhibited with Kandinsky’s Munich-based group Der Blaue Reiter, from 1902 he called himself after his birthplace. Nolde was a supporter of the Nazi party from the early 1920s and he expressed anti-semitic, negative opinions about Jewish artists, and considered Expressionism to be a distinctively Germanic style. This view was shared by other members of the Nazi party, notably Joseph Goebbels. However Hitler rejected all forms of modernism as degenerate art, until that time he had been held in great prestige in Germany. A total of 1,052 of his works were removed from museums, some were included in the Degenerate Art exhibition of 1937, despite his protests, including a personal appeal to Nazi gauleiter Baldur von Schirach in Vienna. He was not allowed to paint—even in private—after 1941, nevertheless, during this period he created hundreds of watercolors, which he hid. He called them the Unpainted Pictures, in 1942 Nolde wrote, There is silver blue, sky blue and thunder blue. Every color holds within it a soul, which makes me happy or repels me, to a person who has no art in him, colors are colors, tones tones. and that is all

42.
Lovis Corinth
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Lovis Corinth was a German artist and writer whose mature work as a painter and printmaker realized a synthesis of impressionism and expressionism. Corinth studied in Paris and Munich, joined the Berlin Secession group and his early work was naturalistic in approach. Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and his use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinths subject matter also included nudes and biblical scenes, Corinth was born Franz Heinrich Louis on 21 July 1858 in Tapiau, in Prussia. The son of a tanner, he displayed a talent for drawing as a child, in 1876 he went to study painting in the academy of Königsberg. Initially intending to become a painter, he was dissuaded from this course by his chief instructor at the academy. In 1880 he traveled to Munich, which rivaled Paris as the art center in Europe at the time. There he studied briefly with Franz von Defregger before gaining admittance to the Academy of Fine Arts Munich, the realism of Corinths early works was encouraged by Löfftzs teaching, which emphasized careful observation of colors and values. Other important influences were Courbet and the Barbizon school, through their interpretation by the Munich artists Wilhelm Leibl, except for an interruption for military service in 1882–83, Corinth studied with Löfftz until 1884. He concentrated especially on improving his skills, and made the female nude his frequent subject. He was disappointed, however, in his failure to win a medal at the Salon. In 1891, Corinth returned to Munich, but in 1892 he abandoned the Munich Academy, in 1894 he joined the Free Association, and in 1899 he participated in an exhibition organized by the Berlin Secession. These nine years in Munich were not his most productive, Corinth moved to Berlin in 1900, and had a one-man exhibition at a gallery owned by Paul Cassirer. In 1902 at the age of 43, he opened a school of painting for women and married his first student, Charlotte Berend, Charlotte was his youthful muse, his spiritual partner, and the mother of his two children. She had a influence on him, and family life became a major theme in his art. He published numerous essays on art history, and in 1908 published Das Erlenen der Malerei, in December 1911, he suffered a stroke, and was partially paralyzed on his left side. Thereafter he walked with a limp, and his hands displayed a chronic tremor, with the help of his wife, within a year he was painting again with his right hand. His disability inspired in the artist an intense interest in the simple, in the summer of 1919, for example, he produced a cycle of casual etchings of his family in their country home

43.
Georg Kolbe
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Georg Kolbe was the leading German figure sculptor of his generation, in a vigorous, modern, simplified classical style similar to Aristide Maillol of France. Kolbe was born in Waldheim, Saxony, originally trained as a painter in Dresden, Munich, and Paris, he began sculpting during a stay in Rome at the turn of the century under the technical guidance of sculptor Louis Tuaillon. In 1905, Kolbe joined the Berliner Sezession, which in 1913 and his artistic breakthrough came in 1912 with his sculpture masterpiece Die Tänzerin, his most famous work. As he was interested in Asian faces, D. N. Mazumdar, father of Indian novelist Anita Desai, sat for him, resulting in a bust. In 1929, he collaborated with Lilly Reich and Mies van der Rohe for his sculpture in the Barcelona Pavilion. As the last president of the Deutscher Künstlerbund, he devoted himself to the promotion of artists who were classified degenerate. Kolbe also made prints, beginning with lithographs around 1900. In 1919-1920, Kolbe practically did not work as a sculptor, during this time small-size sculptures and drawings became central in his works. In the 1920s, encouraged by Cassirer, he made drypoints of dancers and nudes in motion, the Nazis appropriated his late style of monumental, idealized athletic nudes. From 1937 to 1944, Kolbe participated regularly at Große Deutsche Kunstausstellung, organized by the Haus der Kunst and his uncharacteristically bombastic Verkündigung was a focal point of the 1937 German Pavilion. In 1944, in the stages of World War II, Hitler. Only after Kolbes death, a Beethoven monument and the Ring der Statuen were installed in Frankfurt am Main, the realization of a Friedrich Nietzsche memorial in Weimar failed because of Hitlers appeal. Kolbe died of cancer in St. Hedwig-Krankenhaus in Berlin on 20 November 1947. In 2009, an exhibition of Kolbes Blue Ink Drawings was presented by the State Hermitage Museum,2017 an exhibition about his artistik, architectural and social network at Georg Kolbe Museum, Berlin. Many of Kolbes 1000 sculptures were destroyed by confiscation, bombing and melting for war purposes and his sculptures are in many museum collections in Europe, USA and Russia, among them the Museum of Modern Art, New York, and the Moderna Museet, Stockholm. It was built in 1928/29 based on Kolbes designs by Architect Ernst Rentsch, today it serves as the Georg Kolbe Museum, a museum dedicated to sculpture of the 20th century and contemporary art. Among others, the museum has in the past mounted solo exhibitions of Aristide Maillol, Bernhard Hoetger, Henry Moore, Karl Hartung, August Gaul, A. R

44.
Wilhelm Lehmbruck
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Wilhelm Lehmbruck was a German sculptor. Born in Duisburg, he was the fourth of eight born to the miner Wilhelm Lehmbruck. He was able to study arts at the School of Applied Arts in Düsseldorf by a stipend from the municipal authorities. In 1899 he began to make a living by doing illustrations for scientific publications and he trained at the Kunstakademie Düsseldorf and is associated with the Düsseldorf school of painting from 1901 to 1906. On leaving the academy Lehmbruck worked as an independent artist in Düsseldorf and he exhibited for the first time at the Deutsche Kunstausstellung, in Cologne in 1906. He was impressed by the sculptures of Auguste Rodin, and traveled to England, Italy, the Netherlands, in 1907, he married Anita Kaufmann, and they had three sons. In 1912 Lehmbruck exhibited in the Folkwang Museum in Hagen, with Egon Schiele, in 1914, he had his first solo exhibition in Paris, at the Galerie Levesque. He contributed to an exhibition at the Grand Palais in Paris, from 1910–1914 he lived in Paris. He frequented the Café du Dôme, where he met such as Modigliani, Brâncuși. During World War I he served as a paramedic at a hospital in Berlin. The suffering and misery he saw there are reflected in his late sculptures such as Fallen Man and he suffered from severe depression and fled the war by going to Zürich at the end of 1916. There he made contact with the socialist, L. Rubiner and he was elected to the Prussian Academy of Arts in Berlin in early 1919. After the war he returned to Berlin where he committed suicide on March 25,1919, Lehmbrucks sculptures mostly concentrate on the human body and are influenced by Naturalism and Expressionism. His works, including nudes, are marked by a sense of melancholy. Throughout his career, architect Ludwig Mies van der Rohe placed his friend Lehmbrucks sculptures, the Lehmbruck Museum has in its collection about 100 sculptures,40 paintings,900 drawings and 200 graphical works by Wilhelm Lehmbruck. The museum, named after Wilhelm Lehmbruck, was designed by his son. The Honolulu Museum of Art, the Museum of Modern Art, the National Gallery of Art, Städel Museum, one of his sculptures can be seen in the Villa Tugendhat. Wilhelm Lehmbruck, Berlin, Klinkhardt & Biermann,1933, london, Zwemmer 1958 August Hoff, Wilhelm Lehmbruck, life and work

45.
Ernst Ludwig Kirchner
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He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as degenerate by the Nazis and in 1937, in 1938, he committed suicide by gunshot. Ernst Ludwig Kirchner was born in Aschaffenburg, Bavaria and his parents were of Prussian descent and his mother was a descendant of the Huguenots, a fact to which Kirchner often referred. The institution provided a range of studies in addition to architecture, such as freehand drawing, perspective drawing. While in attendance, he became friends with Fritz Bleyl. They discussed art together and also studied nature, having a radical outlook in common, Kirchner continued studies in Munich 1903–1904, returning to Dresden in 1905 to complete his degree. In 1905, Kirchner, along with Bleyl and two other students, Karl Schmidt-Rottluff and Erich Heckel, founded the artists group Die Brücke. From then on, he committed himself to art, the group aimed to eschew the prevalent traditional academic style and find a new mode of artistic expression, which would form a bridge between the past and the present. They responded both to past artists such as Albrecht Dürer, Matthias Grünewald and Lucas Cranach the Elder, as part of the affirmation of their national heritage, they revived older media, particularly woodcut prints. Their group was one of the ones which in due course had a major impact on the evolution of modern art in the 20th century. The group met initially in Kirchners first studio, which had previously been a butchers shop, Kirchners studio became a venue which overthrew social conventions to allow casual love-making and frequent nudity. Group life-drawing sessions took place using models from the circle, rather than professionals. A group manifesto written by Kirchner in 1906 stated that Everyone who reproduces, directly and without illusion, whatever he senses the urge to create, belongs to us. In September and October 1906, the first group exhibition was held, focused on the female nude, in 1906, he met Doris Große, who was his favoured model until 1911. Between 1907 and 1911, he stayed during the summer at the Moritzburg lakes and on the island of Fehmarn with other Brücke members, his work featured the female nude in natural settings. In 1911, he moved to Berlin, where he founded an art school, MIUM-Institut. This was not a success and closed the year, when he also began a relationship with Erna Schilling that lasted the rest of his life. In 1913, his writing of Chronik der Brücke led to the ending of the group, at this time, he established an individual identity with his first solo exhibition, which took place at the Essen Folkwang Museum

46.
Paula Modersohn-Becker
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Paula Modersohn-Becker was a German painter and one of the most important representatives of early expressionism. In a brief career, cut short by an embolism at the age of 31 and she is becoming recognized as the first female painter to paint female nudes. Using bold forays into subject matter and chromatic color choices, she and fellow-artists Picasso, Paula Becker was born and grew up in Dresden-Friedrichstadt. She was the child of seven children in her family. Her father Carl Woldemar Becker, the son of a Russian university professor for french lessons, was employed as an engineer with the German railway and her mother, Mathilde was from an aristocratic family ″von Bültzingslöwen″, and her parents provided their children a cultured and intellectual household environment. In 1888 the family moved from Dresden to Bremen, while visiting an maternal aunt in London, Becker received her first instruction in drawing at St Johns Wood Art School. In addition to her teachers training in Bremen in 1893-1895, Becker received private instruction in painting, in 1896 she participated in a course for painting and drawing sponsored by the Verein der Berliner Künstlerinnen which offered art studies to women. Beckers friend Clara Westhoff left Bremen in early 1899 to study in Paris, by December of that year, Becker followed her there, and in 1900 she studied at the Académie Colarossi in the Latin Quarter. In April 1900 the great Centennial Exhibition was held in Paris, on this occasion Fritz Overbeck and his wife, along with Otto Modersohn, arrived in June. Modersohns ailing wife Helen had been left in Worpswede and died during his trip to Paris, with this news Modersohn and the Overbecks rushed back to Germany. In 1901 Paula married Otto Modersohn and became stepmother to Ottos two-year-old daughter, Elsbeth Modersohn and she functioned in that capacity for two years, then relocated to Paris again in 1903. She and Modersohn lived mostly apart from that time forward until 1907, the marriage with Modersohn remained unconsummated until their final year together. By 1906, Becker has reversed her previous desire to avoid having children, however, by early 1907 she returned to her husband, became pregnant, and in November she delivered a daughter, Mathilde. After the pregnancy she complained of leg pain, so the physician ordered bed rest. She studied under Mackensen, painting from the farmers. At this time she began friendships with the sculptor Clara Westhoff. Until the years when Paula Becker began the practice, women painters had not widely used nude females as subjects for their work, Modersohn-Becker came from a bourgeois German family background. She was formally trained as an artist and school teacher and had studied in London and her work on the female nude is unconventional and expresses an ambivalence to both her subject matter and the method of its representation

47.
Wassily Kandinsky
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Wassily Wassilyevich Kandinsky was a Russian painter and art theorist. He is credited with painting one of the first recognised purely abstract works, born in Moscow, Kandinsky spent his childhood in Odessa, where he graduated at Grekov Odessa Art school. He enrolled at the University of Moscow, studying law and economics, successful in his profession—he was offered a professorship at the University of Dorpat—Kandinsky began painting studies at the age of 30. In 1896 Kandinsky settled in Munich, studying first at Anton Ažbes private school and he returned to Moscow in 1914, after the outbreak of World War I. Kandinsky was unsympathetic to the theories on art in Communist Moscow. There, he taught at the Bauhaus school of art and architecture from 1922 until the Nazis closed it in 1933. He then moved to France, where he lived for the rest of his life, becoming a French citizen in 1939 and he died at Neuilly-sur-Seine in 1944. Kandinskys creation of work followed a long period of development. He called this devotion to beauty, fervor of spirit. Kandinsky was born in Moscow, the son of Lidia Ticheeva and Vasily Silvestrovich Kandinsky, Kandinsky learned from a variety of sources while in Moscow. He studied many fields while in school, including law and economics, later in life, he would recall being fascinated and stimulated by colour as a child. His fascination with colour symbolism and psychology continued as he grew, in 1889, he was part of an ethnographic research group which travelled to the Vologda region north of Moscow. In Looks on the Past, he relates that the houses and churches were decorated with such shimmering colours that upon entering them and this experience, and his study of the regions folk art, was reflected in much of his early work. The artist is the hand plays, touching one key or another. Kandinsky was also the uncle of Russian-French philosopher Alexandre Kojève, in 1896, at the age of 30, Kandinsky gave up a promising career teaching law and economics to enroll in the Munich Academy where his teachers would eventually include Franz von Stuck. He was not immediately granted admission, and began learning art on his own and that same year, before leaving Moscow, he saw an exhibit of paintings by Monet. He was particularly taken with the style of Haystacks, this. Later, he would write about this experience, That it was a haystack the catalogue informed me and this non-recognition was painful to me

48.
Chaim Soutine
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Chaïm Soutine was a Russian painter of Belarusian Jewish origin. Soutine made a contribution to the expressionist movement while living in Paris. Soutine was born Chaim Sutin, in Smilavichy near Minsk, Belarus and he was the tenth of eleven children. From 1910 to 1913 he studied in Vilnius at the Vilna Academy of Fine Arts, in 1913, with his friends Pinchus Kremegne and Michel Kikoine, he emigrated to Paris, where he studied at the École des Beaux-Arts under Fernand Cormon. He soon developed a personal vision and painting technique. For a time, he and his friends lived at La Ruche, Modigliani painted Soutines portrait several times, most famously in 1917, on a door of an apartment belonging to Léopold Zborowski, who was their art dealer. Zborowski supported Soutine through World War I, taking the struggling artist with him to Nice to escape the possible German invasion of Paris, after the war Paul Guillaume, a highly influential art dealer, began to champion Soutines work. In 1923, in a showing arranged by Guillaume, the prominent American collector Albert C, barnes, bought 60 of Soutines paintings on the spot. Soutine once horrified his neighbours by keeping an animal carcass in his studio so that he could paint it, the stench drove them to send for the police, whom Soutine promptly lectured on the relative importance of art over hygiene. Theres a story that Marc Chagall saw the blood from the leak out onto the corridor outside Soutines room. Soutine painted 10 works in series, which have since become his most well-known. His carcass paintings were inspired by Rembrandts still life of the subject, Slaughtered Ox. Soutine produced the majority of his works from 1920 to 1929, soon afterwards France was invaded by German troops. As a Jew, Soutine had to escape from the French capital and he moved from one place to another and was sometimes forced to seek shelter in forests, sleeping outdoors. Suffering from an ulcer and bleeding badly, he left a safe hiding place for Paris in order to undergo emergency surgery. On August 9,1943, Chaim Soutine died of a perforated ulcer and he was interred in Cimetière du Montparnasse, Paris. In February 2007, a 1921 portrait of a man with a red scarf by Chaim Soutine sold for $17.2 million—a new record—at Sothebys London auction house. In May 2015, Le Bœuf, circa 1923, oil on canvas, some years after Soutines death, Roald Dahl placed him as a character in his short story Skin

49.
Edvard Munch
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One of his best known works is The Scream of 1893. Edvard Munch was born in a farmhouse in the village of Ådalsbruk in Løten, United Kingdoms of Sweden and Norway, to Laura Catherine Bjølstad and Christian Munch, Christian was a doctor and medical officer who married Laura, a woman half his age, in 1861. Edvard had a sister, Johanne Sophie, and three younger siblings, Peter Andreas, Laura Catherine, and Inger Marie. Both Sophie and Edvard appear to have inherited their artistic talent from their mother, Edvard Munch was related to painter Jacob Munch and historian Peter Andreas Munch. The family moved to Christiania in 1864 when Christian Munch was appointed medical officer at Akershus Fortress, Edvards mother died of tuberculosis in 1868, as did Munchs favorite sister Johanne Sophie in 1877. After their mothers death, the Munch siblings were raised by their father, often ill for much of the winters and kept out of school, Edvard would draw to keep himself occupied. He was tutored by his mates and his aunt. Christian Munch also instructed his son in history and literature, and entertained the children with vivid ghost-stories, as Edvard remembered it, Christians positive behavior toward his children was overshadowed by his morbid pietism. Munch wrote, My father was temperamentally nervous and obsessively religious—to the point of psychoneurosis, from him I inherited the seeds of madness. The angels of fear, sorrow, and death stood by my side since the day I was born, Christian reprimanded his children by telling them that their mother was looking down from heaven and grieving over their misbehavior. The oppressive religious milieu, plus Edvards poor health and the vivid ghost stories, helped inspire his macabre visions and nightmares, one of Munchs younger sisters, Laura, was diagnosed with mental illness at an early age. Of the five siblings, only Andreas married, but he died a few months after the wedding, Munch would later write, I inherited two of mankinds most frightful enemies—the heritage of consumption and insanity. Christian Munchs military pay was low, and his attempts to develop a private side practice failed, keeping his family in genteel. They moved frequently from one flat to another. Munchs early drawings and watercolors depicted these interiors, and the objects, such as medicine bottles and drawing implements. By his teens, art dominated Munchs interests, at thirteen, Munch had his first exposure to other artists at the newly formed Art Association, where he admired the work of the Norwegian landscape school. He returned to copy the paintings, and soon he began to paint in oils, in 1879, Munch enrolled in a technical college to study engineering, where he excelled in physics, chemistry and math. He learned scaled and perspective drawing, but frequent illnesses interrupted his studies, the following year, much to his fathers disappointment, Munch left the college determined to become a painter

50.
Zantzinger, Borie and Medary
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Zantzinger, Borie and Medary was American architecture firm that operated from 1905 to 1950 in Philadelphia. It specialized in institutional and civic projects, for most of its existence, the partners were Clarence C. Zantzinger, Charles Louis Borie Jr. and Milton Bennett Medary, the firm was a launching pad for numerous architects of note, including Dominique Berninger and Louis Kahn. The firm was established in 1905 as Zantzinger & Borie, Zantzinger and Borie were involved in years of preliminary design work on the Philadelphia Museum of Art. The 1911 commission was shared between Z&B and Horace Trumbauer, most of the credit for the final building, completed in 1928, is given to architects Howell Lewis Shay and Julian Abele, both from Trumbauers firm. After Medary joined in 1910, the firm was renamed Zantzinger, the firm collaborated with Paul Philippe Cret for the completed buildings listed below, and on proposals for the Nebraska State Capitol and the Liberty Memorial in Kansas City. When Medary died in 1929, the returned to its original name. The firm was the first recorded American employer of French-born American architect Dominique Berninger, during this time he served as job captain for their design project of the Sheffield Scientific School at Yale University, New Haven, Connecticut, a project that cost around $1,250,000. As a young man in 1930 through 1932, Louis Kahn worked for both Cret and for Z&B, the firm also worked with former Bertram Goodhue collaborators sculptor Lee Lawrie and iconographer Hartley Burr Alexander, among others. 1916, Indianapolis Central Public Library, Indianapolis, with Paul Philippe Cret,1917, Washington Memorial Chapel, Valley Forge National Historical Park, Valley Forge, Pennsylvania. 1918, Federal Ordnance Plant Housing, Neville Island, Ohio River, the $50,000,000 commission was for 15,000 homes to house 20-25,000 workers. 1921-24, Henry Hall and Foulke Hall, Princeton University, Princeton, 1926-27, Fidelity Mutual Life Insurance Company Building, Philadelphia. Now part of the Philadelphia Museum of Art, 1927-28, Detroit Institute of Arts, Detroit, with Paul Philippe Cret. 1927-29, Bok Singing Tower, Lake Wales, Florida, 1929-31, Burton-Judson Courts, Hyde Park, Chicago. 1931, Strathcona Hall, Yale University, New Haven, Connecticut and this probably refers to the Sheffield Scientific School at Yale, a project that cost around $1,250,000, on which Berninger served as job captain. 1932-35, Department of Justice Building, Washington, D. C

51.
Horace Rackham
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Horace H. Rackham was one of the original stockholders in the Ford Motor Company and a noted philanthropist. Rackham was born in Harrison, Michigan and he graduated from high school in Leslie, Michigan in 1878. In 1879, he moved to Detroit, Michigan to work for Berry Brothers, in 1884, he began studying law under the employ of Adolph Sloman, and was admitted to the Bar in 1885. The next year, he married Mary A. Horton of Fenton, in 1894, he partnered with John W. Anderson to open a law firm. The partnership was successful, counting among their clients Alexander Y. In 1903, at Malcomsons advice, Henry Ford hired Rackham, Ford also convinced the partners to buy stock in the company. Rackham scraped together $5,000 by borrowing money and selling some real estate parcels. With great uncertainty, and against the advice of others, Rackham bought 50 shares of Ford stock, Anderson bought another 50. In addition to Ford, Anderson, and Rackham, seven people were awarded stock in the company, including Malcomson, James J. Couzens and John Francis Dodge. At the first meeting of stockholders, Rackham was elected chairman, Ford Motor Company was wildly successful, providing substantial dividends, and in 1913 Rackham quit his law practice. In 1919, Edsel Ford purchased Rackhams stock for 12.5 million dollars, Rackhams acquired wealth had little effect on his and Marys lifestyle. Because Rackham was always cautious with his finances and leery of speculative nature of the stock market, Rackham spent the rest of his life as a philanthropist, giving money to childrens charities, the University of Michigan, and other causes. At the time of his death, Rackhams wealth was valued at an estimated $16.5 million, Horace Rackham and his wife Mary supported the University of Michigan by donating his law library, sponsoring anthropological expeditions, and underwriting creative arts fellowships. Most significantly, when he died in 1933, Rackham left $100,000 in his will expressly to support graduate student loans. The Horace H. Rackham School of Graduate Studies at the university is named after him, as is the Rackham Building, built in 1938, the Rackhams were also the patrons of the 1938 Rackham School of Special Education on the Eastern Michigan University campus in Ypsilanti, Michigan. After the death of Mary Rackham in 1947, the Horace H. the fund was to be used expressly for such benevolent, charitable, educational, scientific, religious and public purposes. From 1924 to 1928, Rackham was the first president of the Detroit Zoological Commission, in 1924, Rackham purchased acres of land in what is now Huntington Woods, Michigan near land owned by the Detroit Zoological Society. Through his friend and Detroit mayor James Couzens, Rackham anonymously promised to donate the land to Detroit if voters would approve financing for the Detroit Zoo

52.
Gunnar Birkerts
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Gunnar Birkerts is a Latvian-American architect who, for most of his career, was based in the metropolitan area of Detroit, Michigan. S. Gunnar Birkerts was raised in Latvia but fled ahead of the advancing Russian army toward the end of the Second World War and he graduated from the Technische Hochschule, Stuttgart, Germany, in 1949. Birkerts came to the United States and worked initially for Perkins and Will, then for Eero Saarinen, Birkerts initially practiced in the partnership Birkerts and Straub, after that partnership broke up the firm became Gunnar Birkerts and Associates. Birkerts joined the faculty at the University of Michigan in 1959, the ACSA honored Birkerts with the ACSA Distinguished Professor Award in 1989-90. Gunnar Birkerts was selected as a Fellow of the American Institute of Architects in 1970, Birkerts now maintains an architectural office in Wellesley, Massachusetts. His son is noted literary critic Sven Birkerts, Gunnar Birkerts is noted for designing the new building of National Library of Latvia in Riga. Birkerts is a professor at The University of Illinois and was the Architect-In-Residence at the American Academy in Rome. He is a member of the Latvian Union of Architects, honorary member of the Latvian Academy of Sciences, edita, Tokyo 1982 Gunnar Birkerts & Associates, IBM Information Systems Center, Sterling Forest, N. Y. 1972, Federal Reserve Bank of Minneapolis, Minnesota,1973, EDITA, Tokyo 1974 Gunnar Birkerts Architects, Inc. Gunnar Birkerts papers 1930-2002, at the Bentley Historical Library, University of Michigan Biography

53.
McCarthyism
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McCarthyism is the practice of making accusations of subversion or treason without proper regard for evidence. It originated with President Trumans Executive Order 9835 of March 21,1947, McCarthyism soon took on a broader meaning, describing the excesses of similar efforts. The term is now used more generally to describe reckless, unsubstantiated accusations. The primary targets of such suspicions were government employees, those in the entertainment industry, educators, many people suffered loss of employment or destruction of their careers, some even suffered imprisonment. McCarthyism was a social and cultural phenomenon that affected all levels of society and was the source of a great deal of debate. The historical period that came to be known as the McCarthy era began well before Joseph McCarthys own involvement in it, many factors contributed to McCarthyism, some of them extending back to the years of the First Red Scare, inspired by Communisms emergence as a recognized political force. While the United States was engaged in World War II and allied with the Soviet Union, the Soviet Union tested an atomic bomb in 1949, earlier than many analysts had expected. That same year, Mao Zedongs Communist army gained control of mainland China despite heavy American financial support of the opposing Kuomintang, in 1950, the Korean War began, pitting U. S. U. N. and South Korean forces against Communists from North Korea and China. The following year saw several significant developments regarding Soviet Cold War espionage activities. In January 1950, Alger Hiss, a high-level State Department official, was convicted of perjury, in Great Britain, Klaus Fuchs confessed to committing espionage on behalf of the Soviet Union while working on the Manhattan Project at Los Alamos National Laboratory during the War. Julius and Ethel Rosenberg were arrested in 1950 on charges of stealing atomic bomb secrets for the Soviets and were executed in 1953, there were also more subtle forces encouraging the rise of McCarthyism. It had long been a practice of conservative politicians to refer to progressive reforms such as child labor laws. This tendency increased in the 1930s in reaction to the New Deal policies of President Franklin D. Roosevelt, in general, the vaguely defined danger of Communist influence was a more common theme in the rhetoric of anti-Communist politicians than was espionage or any other specific activity. He produced a piece of paper which he claimed contained a list of known Communists working for the State Department and this speech resulted in a flood of press attention to McCarthy and established the path that made him one of the most recognized politicians in the United States. The first recorded use of the term McCarthyism was in a cartoon by Washington Post editorial cartoonist Herbert Block. The cartoon depicted four leading Republicans trying to push an elephant to stand on a platform atop a stack of ten tar buckets. Block later wrote that there was nothing particularly ingenious about the term, if anyone has a prior claim on it, hes welcome to the word and to the junior senator from Wisconsin along with it. I will also throw in a set of dishes and a case of soap

54.
Pewabic Pottery
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Pewabic Pottery is a ceramic studio and school at 10125 East Jefferson Avenue, Detroit, Michigan. Founded in 1903, the studio is known for its iridescent glazes, some of which grace notable buildings such as the Shedd Aquarium, the pottery continues in operation today, and was designated a National Historic Landmark in 1991. The pottery was founded in 1903 by the artist and teacher Mary Chase Perry Stratton and Horace James Caulkins, Caulkins was considered a high-heat and kiln specialist, and developed the Revelation kiln. Mary Perry Stratton was the artistic and marketing force, the company is well known for the unusual iridescent glaze covering the pottery and tiles created in a manner outlined by the International Arts and Crafts movement. In 1991, Pewabic Pottery was designated as a National Historic Landmark, see also, List of National Historic Landmarks in Michigan. As Michigans only historic pottery, the continues to operate in a 1907 Tudor Revival building as a non-profit educational institution. They offer classes in ceramics, hold exhibitions, sell pottery made in house, showcase and sell artists from across the United States, and offer design and fabrication services. The museums exhibits focus on the role in the history of Detroit, the Arts and Crafts movement in America. The galleries also showcase new works by modern ceramic artists, Pewabic Pottery produces many kinds of hand made decorative objects. They are part of the collections of the Detroit Institute of Arts, examples abound in the External Links hereafter. Under Mary Strattons artistic leadership, Pewabic Pottery employees created lamps, vessels and they were known for their iridescent glazes. Architectural tiles were used in aquaria, churches, concert halls, fountains, libraries, museums, schools, the studios work graces numerous edifices throughout Michigan and the rest of the United States. Noteworthy examples include Herzstein Hall at Rice University in Houston, Texas, detailed maps of public installations in the Detroit Metropolitan Area and the U. S. A. are available. Contemporary installations include Comerica Park, home of the Detroit Tigers, Detroit Medical Center Childrens Hospital, Pewabic tile was in great demand in Detroit and the southeastern Michigan area for the use in buildings and it can be found in many of the areas finest structures. These include, Belle Isle Aquarium, Belle Isle Park Detroit, Michigan Buhl Building, Detroit, Michigan Cathedral Church of St

55.
James E. Scripps
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James Edmund Scripps was an American newspaper publisher and philanthropist. Scripps was born in 1835 in London to James Mogg Scripps and his father was a bookbinder who came to America in 1844 with six motherless children. Scripps grew up on a Rushville, Illinois, farm, when the Advertisers premises burned in 1873, Scripps took his $20,000 insurance money and with it started his own newspaper. Scripps decided to tap the growing class of working men and women by launching a newspaper. Running with a new for its time, he filled the paper with inexpensive advertising. His competitors called the News a cheap rag and labeled his reporters pirates, with his younger half-brother, E. W. James later had an interest in newspapers located in Cleveland, St. Louis, Cincinnati and Chicago. In 1900, Scripps wrote a letter for the Detroit Century Box time capsule, Scripps died in 1906 and is buried in Detroits Woodmere Cemetery. She was also instrumental in helping their younger brother E. W. get started in the newspaper industry, together, George and “Nellie” also founded the world-renowned Cranbrook Educational Community in Bloomfield Hills, Michigan

James E. Scripps
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Portrait of James E. Scripps, 1907

56.
Christian H. Buhl
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Christian H. Buhl was a businessman and industrialist from Detroit, Michigan. He served as the mayor in 1860-61. Christian Henry Buhl was born in Zelienople, Pennsylvania on May 9,1810 and he learned the profession of a hatter from his Bavarian-born father, also named Christian, and in 1833 moved to Detroit, where he went into business with his older brother Frederick Buhl. The two diversified from hats into the fur trade, establishing a large and successful company under the name of the F & C H Buhl Co, in 1855, Christian retired from the fur trade and went into business with Charles Ducharme as a wholesale hardware firm. Buhl was also owner of the Sharon Iron Works, the Detroit Locomotive Works. He also organized Detroit Copper and Brass Company and the Peninsular Car Company, Buhl was originally a Whig, but became a Republican after the party first formed. He served as an alderman of the city of Detroit, and was mayor in 1860-1861. In 1885, Buhl donated a substantial law library, worth $15,000, to the University of Michigan, in 1842, Buhl married Caroline DeLong of Utica, New York. The couple had five children, only two of whom — Theodore D. and Frank H. — outlived their parents, Christian H. Buhl died January 23,1894

57.
C. R. Mabley
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Christopher Richards Mabley was the founder of a chain of department stores in the USA. He was known as The Merchant Prince, Mabley was born on Feb 22,1836 in St. Minver, Cornwall, England to William and Mary née Richards Mably. His first wife, Catherine, bore him at least 8 children of whom only two or three girls survived to adulthood, around 1875 he married Katherine Morice Hull and in 1877 emigrated via Toronto to America. The building was renamed the Majestic Building by a new owner because of the many letter Ms carved into the stonework, the final store, in Cincinnati, was named Mabley and Carew and was jointly owned with Joseph Carew. Joseph T. Carew had been one of Mableys managers and later his business partner, Mabley delighted in the out-door life, belonging to the old Detroit Boat Club and the St. Clair Pishing Club. In politics he was a Democrat, but was very broad in his views and he would never accept public office, although several times approached with a request to accept the nomination for mayor. He was a member of the Universalist church. His only surviving son Carleton Raymond Mabley co-founded the Smith and Mabley auto manufacturing company of New York City, paul Leake, A History of Detroit, Lewis Publishing Company,1912 Michigan History, the Majestic Building from the Detroit News Mabley genealogy

C. R. Mabley
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C. R. Mabley

58.
John Stoughton Newberry
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John Stoughton Newberry was an American industrialist and politician. He served as the first provost marshal for the State of Michigan, representative from the state of Michigan. Newberry was born in Waterville, New York, the son of Elihu Newberry and he moved with his parents to Michigan when a child, residing in Detroit, Ann Arbor, and Romeo. He completed preparatory studies at Romeo Academy and graduated from the University of Michigan in 1847 and he spent two years in civil engineering working with the Michigan Central Railroad, then studied law in Detroit. He was admitted to the bar in 1853, and specialized in maritime law and he played with the Detroit Base Ball Club for a short time. He published the first volume of admiralty reports of decisions of cases arising on western lakes, in the early 1860s, Newberry joined the railroad car manufacturing firm of Dean and Eaton, renaming it Newberry, Dean and Eaton Manufacturing Co. When James McMillan joined the firm in 1864, the company was reorganized as the Michigan Car Company, with McMillan, Newberry also established the Detroit Car Wheel Company. He was appointed the first provost marshal for the State of Michigan by U. S. President Abraham Lincoln in 1862 with the rank of captain of Cavalry, Newberry resigned in 1864 and engaged in several large manufacturing and railroad enterprises. Newberry was elected as a Republican candidate to the Forty-sixth United States Congress and he declined to be a candidate for reelection in 1880. He served as director of The Detroit and Cleveland Steam Company, Detroit, Bay City and Alpena Railroad, Newberry died in Detroit on January 2,1887, and is interred in Elmwood Cemetery. The town of Newberry, Michigan is named after Newberry, as a consequence of the business interest in the Detroit, Mackinac. An impressive Romanesque building was built from fieldstone on the campus of the University of Michigan between 1888 and 1891. Nearly half of the buildings cost was covered by a gift from Helen H. Newberry, the landmark Newberry Memorial Organ was constructed in his honor at Yale University, where his son Truman graduated in 1885. Newberry was the nephew of Walter Loomis Newberry and Oliver Newberry, Newberry was married in 1855 to Harriet N. Robinson. She died the year,10 days after giving birth to their son Harrie R. Newberry. On October 6,1859 he married Helen P. Handy, the daughter of Truman P. Handy and they had three children, Truman Handy Newberry, John S. Newberry and Helen H. Newberry. His daughter was married to Henry Bourne Joy, President of the Packard Motor Car Company, biographical Directory of the United States Congress

59.
Modernist art
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Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine

60.
Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life

61.
Georges Seurat
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Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31

62.
Henri Rousseau
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Henri Julien Félix Rousseau was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier, a description of his occupation as a toll collector. Ridiculed during his lifetime by critics, he came to be recognized as a genius whose works are of high artistic quality. Rousseaus work exerted an influence on several generations of avant-garde artists. Rousseau was born in Laval, France, in 1844 into the family of a plumber, he was forced to work there as a small boy. He attended Laval High School as a day student, and then as a boarder after his father became a debtor, though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. After high school, he worked for a lawyer and studied law and he served four years, starting in 1863. With his fathers death, Rousseau moved to Paris in 1868 to support his mother as a government employee. In 1868, he married Clémence Boitard, his landlords 15-year-old daughter, in 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898 and he started painting seriously in his early forties, by age 49, he retired from his job to work on his art full-time. Rousseau claimed he had no other than nature, although he admitted he had received some advice from two established Academic painters, Félix Auguste Clément and Jean-Léon Gérôme. Essentially, he was self-taught and is considered to be a naïve or primitive painter and his best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in books and the botanical gardens in Paris. He had also met soldiers during his term of service who had survived the French expedition to Mexico, along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. Rousseaus flat, seemingly childish style was disparaged by many critics and his ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance. Many observers commented that he painted like a child, but the work shows sophistication with his particular technique, from 1886, he exhibited regularly in the Salon des Indépendants, and, although his work was not placed prominently, it drew an increasing following over the years. Yet it was more than a decade before Rousseau returned to depicting his vision of jungles, in 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910

63.
African art
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African art is a term typically used for the art of Sub-Saharan Africa. Often, casual, amateur observers tend to generalize traditional African art, the definition may also include the art of the African diasporas, such as the art of African Americans. Despite this diversity, there are some unifying artistic themes when considering the totality of the culture from the continent of Africa. The term African art does not usually include the art of the North African areas along the Mediterranean coast, for more than a millennium, the art of such areas had formed part of Islamic art, although with many particular characteristics. The art of Ethiopia, with a long Christian tradition, is different from that of most of Africa. Masks are important elements in the art of many peoples, along with human figures, direct images of deities are relatively infrequent, but masks in particular are or were often made for religious ceremonies, today many are made for tourists as airport art. African masks were an influence on European Modernist art, which was inspired by their lack of concern for naturalistic depiction, since the late 19th century there has been an increasing amount of African art in Western collections, the finest pieces of which are now prominently displayed. Many West African figures are used in rituals and are often coated with materials placed on them for ceremonial offerings. The Mande-speaking peoples of the region make pieces from wood with broad, flat surfaces and arms. In Central Africa, however, the main distinguishing characteristics include heart-shaped faces that are curved inward and display patterns of circles, eastern Africans, in many areas shorter of large timber to carve, are known for Tinga Tinga paintings and Makonde sculptures. There is also tradition of producing textile art, Modern Zimbabwean sculptors in soapstone have achieved considerable international success. Southern Africas oldest known clay figures date from 400 to 600 AD and have heads with a mixture of human. An example would be Dan artistry as well as its presence in the Western African diaspora, emphasis on the human figure, The human figure has always been the primary subject matter for most African art, and this emphasis even influenced certain European traditions. Another common theme is the inter-morphosis of human and animal, visual abstraction, African artworks tend to favor visual abstraction over naturalistic representation. This is because many African artworks generalize stylistic norms, emphasis on sculpture, African artists tend to favor three-dimensional artworks over two-dimensional works. Even many African paintings or cloth works were meant to be experienced three-dimensionally, distinct from the static form of traditional Western sculpture African art displays animation, a readiness to move. For example, traditional African masks and costumes very often are used in communal, ceremonial contexts, in African thought, the three cannot be differentiated. Nonlinear scaling, Often a small part of an African design will look similar to a larger part, louis Senghor, Senegals first president, referred to this as dynamic symmetry

64.
Art conservation
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The conservation-restoration of cultural heritage focuses on protection and care of tangible cultural heritage, including artworks, architecture, archaeology, and museum collections. Conservation activities include preventive conservation, examination, documentation, research, treatment and this field is closely allied with conservation science, curators and registrars. Conservation of cultural heritage can be described as a type of ethical stewardship, Conservation of cultural heritage applies simple ethical guidelines, Minimal intervention, Appropriate materials and reversible methods, Full documentation of all work undertaken. Often there are compromises between preserving appearance, maintaining original design and material properties, and ability to reverse changes, reversibility is now emphasized so as to reduce problems with future treatment, investigation, and use. The care of cultural heritage has a history, one that was primarily aimed at fixing and mending objects for their continued use. Until the early 20th century, artists were normally the ones called upon to repair damaged artworks, louis Pasteur carried out scientific analysis on paint as well. The society was founded by William Morris and Philip Webb, both of whom were influenced by the writings of John Ruskin. He not only developed an approach to the care of objects in the collections. The early development of conservation of heritage in any area of the world is usually linked to the creation of positions for chemists within museums. Lauries interests were fostered by William Holman Hunt, the creation of this department moved the focus for the development of conservation theory and practice from Germany to Britain, and made the latter a prime force in this fledgling field. In the United States, the development of conservation of heritage can be traced to the Fogg Art Museum. Importantly he also brought onto the staff chemists. Rutherford John Gettens was the first of usch in the US to be employed by an art museum. He worked with George L. Stout, the founder and first editor of Technical Studies, Gettens and Stout co-authored Painting Materials, A Short Encyclopaedia in 1942, reprinted in 1966. This compendium is still cited regularly, only a few dates and descriptions in Gettens and Stouts book are now outdated. George T. Oliver, of Oliver Brothers Art Restoration and Art Conservation-Boston invented the vacuum hot table for relining paintings in 1920s, taylors prototype table, which he designed and constructed, is still in operation. Oliver Brothers is believed to be the first and the oldest continuously operating art restoration company in the United States, the focus of conservation development then accelerated in Britain and America, and it was in Britain that the first International Conservation Organisations developed. Art historians and theorists such as Cesare Brandi have also played a significant role in developing conservation science theory, in recent years ethical concerns have been at the forefront of developments in conservation

65.
Master of the Osservanza Triptych
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The Master of the Osservanza Triptych, also known as the Osservanza Master and as the Master of Osservanza, is the name given to an Italian painter of the Sienese School active about 1430 to 1450. Longhi observed that another group of paintings was closely related to these works and these included the predella of the Osservanza Altarpiece, a predella of St. Bartholomew, Scenes of the Passion, the Resurrection, and Scenes from the Life of St. Anthony Abbot. Additionally, the painting of St. Anthony Abbot in the Louvre appears to be from another altarpiece by the same master. Research in 2010 by Maria Falcone in Siena has revealed the name of the Master to be Sano di Pietro, Falcone found a document about an altarpiece by the “Master of Osservanza” for a church in Asciano, just outside Siena, which was actually under the bishopric of Arezzo. The artist’s name was included on the document as Sano di Pietro, carli, Enzo, Sassetta e il Maestro dellOsservanza. Fredericksen, Burton and Federico Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, Witt Library, A checklist of painters c. 1200-1976 represented in the Witt Library, Courtauld Institute of Art, London, London, Maria Falcone, “La giovinezza dorata di Sano di Pietro, Un nuovo document per la ‘Natività della Vergine’ di Asciano”, Prospettiva, n. Pope-Hennessy, John & Kanter, Laurence B, the Robert Lehman Collection I, Italian Paintings. New York, Princeton, The Metropolitan Museum of Art in association with Princeton University Press, cS1 maint, Multiple names, authors list Master of the Osservanza Triptych in ArtCyclopedia Master of the Osservanza Triptych Podere Santa Pia

66.
Joseph L. Hudson
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Joseph Lowthian Hudson, a. k. a. J. L. Hudson, was the merchant who founded the Hudsons department store in Detroit, Michigan. Hudson also supplied the capital for the establishment, in 1909, of Roy D. Chapins automotive venture. Hudson was born in Newcastle upon Tyne, England, and immigrated with his family to Hamilton, Canada when he was nine, by the age of fourteen he and members of his family were residing in Michigan. His brother William moved to Buffalo, New York in 1896, Hudson at first focused on men and boys wear, and succeeded through set low prices and a return policy that favored the customer. As business volume grew, Hudson added sale professionals and additional lines of goods, including womens clothing, Hudson incorporated his venture in 1891 as the J. L. Hudson Company. The move cost Hudson $265,000, however the goodwill that it showed also paid Hudson dividends in the form of increasing market share for his businesses, Hudson was also active in civic causes in the greater Detroit area. But towards the end of his life, he was engaged to Eida Caroline Schmidt, though he died from a problem while on a business trip on July 5,1912. Some sources list his place of death as Worthing, England, while some accounts list the place of death as Paris. His remains were returned to Detroit aboard the RMS Oceanic and he was interred at Woodlawn Cemetery, according to biographer Edward L. Lack, Jr. Hudson left no personal papers, and the details outside of his public life are few and mostly unknown. Hudsons niece Eleanor Lowthian Clay was the wife of Edsel Ford, betz, Paul and Carnes, Mark C. New York, Oxford University Press,2002, lach, Edward L. Jr. Hudson, J. L. American National Biography Online, January 2001 Update, how J. L. Hudson changed the way we shop Hudsons hundredth 1881-1981

Joseph L. Hudson
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J. L. Hudson, c. 1891

67.
Master of the Tiburtine Sibyl
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The Master of the Tiburtine Sibyl was an unidentified Early Netherlandish painter, probably from Haarlem, named after The Tiburtine Sibyl meets Augustus, a work in the Städel in Frankfurt. The artist was first recognized and named by German art historian Max Jakob Friedländer, speculation on which known painter he may be identified with has so far been fruitless. Some works which were attributed to the Master of the Tiburtine Sibyl are now attributed to unknown followers of Bouts. Art historian Wilhelm Valentiner identified the Master with Albert van Ouwater, the Master of the Tiburtine Sibyl influenced some later painters like Gerard David, whose Arrest of Sisamnes shows clear resemblances to The Tiburtine Sibyl meets Augustus. The Tiburtine Sibyl meets Augustus, c, 1475-1480, now in the Städel Resurrection of Lazarus, c. 1480, now in the Museo Nacional de San Carlos Crucifixion, c

Master of the Tiburtine Sibyl
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The Tiburtine Sibyl meets Augustus, now in the Städel
Master of the Tiburtine Sibyl
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Crucifixion, c. 1485
Master of the Tiburtine Sibyl
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The Kempen Altar, back of the wings
Master of the Tiburtine Sibyl
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The Kempen Altar, front of the wings

68.
Master of Frankfurt
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The Master of Frankfurt was a Flemish Renaissance painter active in Antwerp between about 1480 and 1520. He is one of anonymous artists identifiable by their painting style. The Master of Frankfurt is, however, often thought to be a Hendrik van Wueluwe, an artist famous in Antwerp around the same time as the anonymous painter but otherwise unconnected to any paintings. His dated Self portrait of the artist with his wife in its original frame reveals that the artist was 36 years old at the time it was made, if he is the same artist as Van Wueluwe, then he was also dean of the guild six times. Attributed paintings include his self-portrait, the Festival of the Archers, metropolitan Museum of Art, New York, Master of Frankfurt, The Adoration of the Christ Child, ca. 1500, Saint Catherine, 1510-1520, and Saint Barbara, 1510-1520 National Gallery of Art, Master of Frankfurt, Saint Anne with the Virgin and the Christ Child, ca. 1500-1510 The Walters Art Museum, Maryland, Master of Frankfurt, Virgin and Child Enthroned, 1515-1520 The Wilanów Palace Museum Poland, Master of Frankfurt, Madonna and Child crowned by two angels, ca

Master of Frankfurt
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Master of Frankfurt, Self portrait of the artist with his wife, 1496. Royal Museum of Fine Arts, Antwerp. This painting, in its original, dated, frame of 1496 shows a double portrait of the artist and his wife. The painter has included life-sized trompe l'oeil flies—seemingly on the painting's surface—an allusion to the classical artistic deceptions of Zeuxis and Parrhasius.
Master of Frankfurt
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Master of Frankfurt (Maestro de Francfort), Sagrada Familia con ángel músico, Santa Catalina de Alejandría, Santa Bárbara, 1510-1520, Museo del Prado, Madrid. With the 2008 acquisition of the Holy Family (the central piece, formerly at the convento dominico de Santa Cruz in Segovia) the Prado completed the triptych by the Master of Frankfurt, separated since 1836.
Master of Frankfurt
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Attributed to the Master of Frankfurt, Virgin and Child Enthroned, ca. 1515-1520, oil on panel, 30 13/16 x 22 3/16 in. (78.3 x 56.3 cm), The Walters Art Museum
Master of Frankfurt
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Master of Frankfurt, Saint Odile and Saint Cecilia, ca. 1503–1506, oil on panel, 113 x 67.9 cm (44 1/2 x 26 3/4 in.), Historical museum, Frankfurt. This painting, rendered in grisaille, forms part of the outer wings of the Altarpiece of St. Anne commissioned for the Dominican Church of Frankfurt circa 1504.

69.
Lucas Cranach the Elder
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Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He also painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the Younger. Lucas Cranach the Elder has been considered the most successful German artist of his time and he was born at Kronach in upper Franconia, probably in 1472. His exact date of birth is unknown and he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491, later, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, there are also suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century and his work then drew the attention of Duke Friedrich III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. Cranach was to remain in the service of the Elector and his successors for the rest of his life, Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and also born there, she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family owned a house. The first evidence of Cranachs skill as an artist comes in a picture dated 1504, in 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V. Until 1508 Cranach signed his works with his initials, in that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible. Somewhat later the duke conferred on him the monopoly of the sale of medicines at Wittenberg, Cranachs presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost by fire in 1871, Cranach, like his patron, was friendly with the Protestant Reformers at a very early stage, yet it is difficult to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luthers correspondence dates from 1520, in a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his Gevatterin, the artists wife. He was also godfather to their first child, Johannes Hans Luther, in 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him

70.
Jacob Isaakszoon van Ruisdael
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Jacob Isaackszoon van Ruisdael was a Dutch painter, draughtsman, and etcher. He is generally considered the pre-eminent landscape painter of the Dutch Golden Age, prolific and versatile, Ruisdael depicted a wide variety of landscape subjects. From 1646 he painted Dutch countryside scenes of remarkable quality for a young man, after a trip to Germany in 1650, his landscapes took on a more heroic character. In his late work, conducted when he lived and worked in Amsterdam, he added city panoramas, in these, the sky often took up two-thirds of the canvas. In total he produced more than 150 Scandinavian views featuring waterfalls, Ruisdaels only registered pupil was Meindert Hobbema, one of several artists who painted figures in his landscapes. Hobbemas work has at times confused with Ruisdaels. Ruisdaels work was in demand in the Dutch Republic during his lifetime, Jacob Isaackszoon van Ruisdael was born in Haarlem in 1628 or 1629 into a family of painters, all landscapists. The number of painters in the family, and the spellings of the Ruisdael name, have hampered attempts to document his life. The name Ruisdael is connected to a castle, now lost, the village was the home of Jacobs grandfather, the furniture maker Jacob de Goyer. When De Goyer moved away to Naarden, three of his sons changed their name to Ruysdael or Ruisdael, probably to indicate their origin, two of De Goyers sons became painters, Jacobs father Isaack van Ruisdael and his well-known uncle Salomon van Ruysdael. Jacob himself always spelled his name with an i, while his cousin, Salomons son Jacob Salomonszoon van Ruysdael, also a landscape artist, spelled his name with a y. It is not known whether Ruisdaels mother was Isaack van Ruisdaels first wife, whose name is unknown, or his second wife, Isaack and Maycken married on 12 November 1628. It is often assumed Ruisdael studied with his father and uncle and he appears to have been strongly influenced by other contemporary local Haarlem landscapists, most notably Cornelis Vroom and Allaert van Everdingen. The earliest date that appears on Ruisdaels paintings and etchings is 1646, two years after this date he was admitted to membership of the Haarlem Guild of St. Luke. By this time landscape paintings were as popular as history paintings in Dutch households, though at the time of Ruisdaels birth and this growth in popularity of landscapes continued throughout Ruisdaels career. Around 1657, Ruisdael moved to Amsterdam, by then a city which was likely to have offered a bigger market for his work. His fellow Haarlem painter Allaert van Everdingen had already moved to Amsterdam, on June 17,1657 he was baptized in Ankeveen, near Naarden. Ruisdael lived and worked in Amsterdam for the rest of his life, in 1668, his name appears as a witness to the marriage of Meindert Hobbema, his only registered pupil, a painter whose works have been confused with Ruisdaels own

71.
Henry Fuseli
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Henry Fuseli RA was a Swiss painter, draughtsman and writer on art who spent much of his life in Britain. Many of his works, such as The Nightmare, deal with supernatural subject-matter and he painted works for John Boydells Shakespeare Gallery, and created his own Milton Gallery. He held the posts of Professor of Painting and Keeper at the Royal Academy and his style had a considerable influence on many younger British artists, including William Blake. Fuseli was born in Zürich, Switzerland, the second of 18 children and his father was Johann Caspar Füssli, a painter of portraits and landscapes, and author of Lives of the Helvetic Painters. He intended Henry for the church, and sent him to the Caroline college of Zurich, one of his schoolmates there was Johann Kaspar Lavater, with whom he became close friends. After taking orders in 1761 Fuseli was forced to leave the country as a result of having helped Lavater to expose an unjust magistrate and he travelled through Germany, and then, in 1765, visited England, where he supported himself for some time by miscellaneous writing. Eventually, he acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Reynolds advice, he decided to devote entirely to art. In 1770 he made an art-pilgrimage to Italy, where he remained until 1778, Early in 1779 he returned to Britain, taking in Zürich on his way. In London he found a commission awaiting him from Alderman Boydell, Fuseli painted a number of pieces for Boydell, and published an English edition of Lavaters work on physiognomy. He also gave William Cowper some valuable assistance in preparing a translation of Homer, in 1788 Fuseli married Sophia Rawlins, and he soon after became an associate of the Royal Academy. Fuseli later said I hate clever women, in 1790 he became a full Academician, presenting Thor Battering the Midgard Serpent as his diploma work. In 1799 Fuseli was appointed professor of painting to the Academy, four years later he was chosen as Keeper, and resigned his professorship, but resumed it in 1810, continuing to hold both offices until his death. As Keeper, he was succeeded by Henry Thomson, in 1799 Fuseli exhibited a series of paintings from subjects furnished by the works of John Milton, with a view to forming a Milton gallery comparable to Boydells Shakespeare gallery. There were 47 Milton paintings, many of them very large, the exhibition proved a commercial failure and closed in 1800. In 1805 he brought out an edition of Pilkingtons Lives of the Painters, which did little for his reputation. Antonio Canova, when on his visit to England, was taken with Fuselis works. As a painter, Fuseli favoured the supernatural and he pitched everything on an ideal scale, believing a certain amount of exaggeration necessary in the higher branches of historical painting

72.
The Nightmare
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The Nightmare is a 1781 oil painting by Anglo-Swiss artist Henry Fuseli. It shows a woman in deep sleep with her arms thrown below her, in a filled with white light. The paintings dream like and haunting erotic evocation of infatuation and obsession was a popular success. In response, Fuseli produced at least three other versions, the canvas seems to portray simultaneously a dreaming woman and the content of her nightmare. The incubus and horses head refer to contemporary belief and folklore about nightmares, contemporary critics were taken aback by the overt sexuality of the painting, since interpreted by some scholars as anticipating Jungian ideas about the unconscious. The Nightmare simultaneously offers both the image of a dream—by indicating the effect of the nightmare on the woman—and a dream image—in symbolically portraying the sleeping vision and it depicts a sleeping woman draped over the end of a bed with her head hanging down, exposing her long neck. She is surmounted by an incubus that peers out at the viewer, the sleeper seems lifeless, and, lying on her back, takes a position then believed to encourage nightmares. Her brilliant coloration is set against the reds, yellows. The interior is contemporary and fashionable, and contains a table on which rests a mirror, phial. The room is hung with red velvet curtains which drape behind the bed, emerging from a parting in the curtain is the head of a horse with bold, featureless eyes. For contemporary viewers, The Nightmare invoked the relationship of the incubus, in these stories, men were visited by horses or hags, giving rise to the terms hag-riding and mare-riding, and women were believed to engage in sex with the devil. The etymology of the nightmare, however, does not relate to horses. Rather, the word is derived from mara, a Scandinavian mythological term referring to a sent to torment or suffocate sleepers. The early meaning of nightmare included the experience of weight on the chest combined with sleep paralysis, dyspnea. The painting incorporates a variety of associated with these ideas, depicting a mares head. Sleep and dreams were common subjects for the Zürich-born Henry Fuseli, Fuselis knowledge of art history was broad, allowing critics to propose sources for the paintings elements in antique, classical, and Renaissance art. According to art critic Nicholas Powell, the womans pose may derive from the Vatican Ariadne, and the style of the incubus from figures at Selinunte, a source for the woman in Giulio Romanos The Dream of Hecuba at the Palazzo del Te has also been proposed. Powell links the horse to a woodcut by the German Renaissance artist Hans Baldung or to the marble Horse Tamers on Quirinal Hill, Fuseli may have added the horse as an afterthought, since a preliminary chalk sketch did not include it

The Nightmare
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The Nightmare
The Nightmare
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Thomas Burke's 1783 engraving of The Nightmare
The Nightmare
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Because of the popularity of the work, Füssli painted a number of versions, including this c. 1790–91 variation.
The Nightmare
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Politician Charles James Fox is the subject of Thomas Rowlandson 's satirical coloured etching The Covent Garden Night Mare (1784).

73.
Watson and the Shark
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Watson and the Shark is a 1778 oil painting by American painter John Singleton Copley, depicting the rescue of Englishman Brook Watson from a shark attack in Havana, Cuba. The original of three versions by Copley is in the National Gallery of Art, Washington, D. C, the painting is based on an attack that took place in Havana harbour in 1749. Brook Watson, then a 14-year-old cabin boy, lost his leg in the attack and was not rescued until the third attempt, Watson went on to become a Lord Mayor of London. Copley and Brook Watson became friends after the American artist arrived in London in 1774, Watson commissioned him to create a painting of the 1749 event, and Copley produced three versions. It was the first of a series of historical paintings that Copley would concentrate on after settling in London. The painting is romanticised, the detail of the injury is hidden beneath the waves. The figure of Watson is based on the statue of the Borghese Gladiator, by Agasias of Ephesus, other apparent influences are Renaissance art, and the ancient statue of Laocoön and his Sons, which Copley may have seen in Rome. Copley was probably influenced by Benjamin Wests The Death of General Wolfe. The composition of the rescuers in the boat shows hints of Peter Paul Rubenss Jonah Thrown into the Sea, various elements of composition were changed as the painting progressed. Copley had never visited Havana, and it is likely that he had never seen a shark and he may have gleaned details of Havana harbour from prints and book illustrations, he includes the real landmark of Morro Castle in the background. The painting was exhibited at the Royal Academy in 1778, Copley produced a second, full-size replica for himself, now in the Museum of Fine Arts, Boston. His third and smaller version, with a more upright composition, is held by the Detroit Institute of Arts, at his death, Watson bequeathed the 1807 painting to Christs Hospital, with the hope that it would prove a most usefull Lesson to Youth. In September 1819 the schools committee of almoners voted to accept the painting, the school later moved to Horsham, Sussex. In 1963, it sold the painting to the National Gallery of Art, Washington, Watson and the Shark is a song from Walter Martins Arts & Leisure album. A painting shown in the background of a shot in the cartoon Steven Universe depicts the main cast rescuing Brook Watson from the shark, one of the characters is shown socking said shark in the face. National Gallery of Art, Washington DC, the Collection, Watson and the Shark. National Gallery of Art, Washington DC, spotlight Biography, Artists, John Singleton Copley. Archived from the original on 13 May 2006, John Singleton Copley in America, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Watson and the Shark

Watson and the Shark
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Watson and the Shark
Watson and the Shark
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The third smaller version has a more vertical composition.

74.
Richard James Wyatt
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Richard James Wyatt was a sculptor. He was the grandson of the architect James Wyatt, Wyatt studied in Rome under Canova, and was a fellow student of John Gibson. He was a man of classical tastes, and produced a number of exquisitely modelled, especially female, Wyatt was born in London, the son of Edward Wyatt the elder and Anne Maddox, he was baptised at St James, Middlesex. He studied at the Royal Academy Schools, where he gained two medals, and served his apprenticeship with John Charles Felix Rossi. In 1818 he exhibited at the academy a Judgment of Paris, when Canova visited this country Wyatt was brought under his notice by Sir Thomas Lawrence, and received from him an invitation to Rome. He left England early in 1821, and, after studying for a few months in Paris under Bosio, proceeded to Rome, and entered the studio of Canova, where he had John Gibson as a fellow pupil. Settling permanently in Rome, Wyatt practised his profession there with great enthusiasm and success, among his best works were Ino and the infant Bacchus, Girl at the Bath, Musidora, and Penelope, The Huntress, and Flora. Several of these have been engraved for The Art Journal, the ‘Penelope’ was a commission given by the queen to Wyatt at the time of his only visit to England in 1841. Wyatt was an accomplished artist, particularly excelling in his female figures. A woodcut portrait, from a drawing by S. Pearce, accompanies a memoir of him in The Art Journal, versions of his Ino and the infant Bacchus are at the Fitzwilliam Museum, Cambridge and another formerly at County Hall Chester. Wyatt was the son of Edward Wyatt, a carver and gilder of Oxford Street, by his wife Anne Madox. His whole life was passed in Rome, where he died, unmarried, on 29 May 1850. Some of his works were shown at the London exhibition of 1851 and this article incorporates text from a publication now in the public domain, Wood, James, ed. article name needed. London and New York, Frederick Warne and this article incorporates text from a publication now in the public domain, Wyatt, Richard James

75.
Meadows Museum
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The Meadows Museum also known as the Prado on the Prairie is a museum in Dallas, Texas. It includes masterpieces by some of the worlds greatest painters, El Greco, Velázquez, Ribera, Murillo, Goya, Miró, Sorolla, and Picasso. The University Art Collection, also administered by the museum, includes works by leading artists of the region – Frank Reaugh, Jerry Bywaters, Otis Dozier, Alexandre Hogue, in 1965, the Meadows Museum opened its doors to the public for the first time. During the 1950s business took Meadows frequently to Madrid, where repeated visits to the Prado Museum inspired what would become a lasting interest in the art of Spains Golden Age. By 1962, Meadows had amassed his own collection of Spanish paintings, after the opening of the museum raised doubts about the quality of some of these works, SMU appointed the museums first professional director, Dr. William B. Jordan, who served in capacity from 1967 until 1981. Supported by Meadows until his death in 1978, the museum initiated a new phase of collecting, during which the core of the present collection was formed. A2013 exhibition titled Sorolla & America features paintings by the Spanish impressionist Joaquin Sorolla, the Meadows was key in developing this new show, exploring for the first time Sorolla’s unique relationship with the United States in the early twentieth century. It begins at the Meadows, from traveling to the San Diego Museum of Art. The museum currently occupies a neo-Palladian structure with impressive naturally lit painting galleries and extensive exhibition space, the Meadows Museum is located off North Central Expressway at 5900 Bishop Blvd. three blocks west of Mockingbird Station. Official website of the Meadows Museum

76.
Renaissance Center
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The Renaissance Center is a group of seven interconnected skyscrapers in Downtown Detroit, Michigan, United States. Located on the International Riverfront, the Renaissance Center complex is owned by General Motors as its world headquarters. The central tower, the Detroit Marriott at the Renaissance Center, is the second tallest all-hotel skyscraper in the Western Hemisphere and it has been the tallest building in Michigan since it was erected in 1977. John Portman was the architect for the original design. The first phase consisted of a five tower rosette rising from a common base, four 39-story office towers surround the 73-story hotel rising from a square-shaped podium which includes a shopping center, restaurants, brokerage firms, and banks. The first phase opened in March 1977. Portmans design brought renewed attention to city architecture, since it resulted in construction of the worlds tallest hotel at the time, two additional 21-story office towers opened in 1981. This type of complex has been termed a city within a city, in 2004, General Motors completed a US$500 million renovation of the Class-A center as its world headquarters, which it had purchased in 1996. The renovation included the addition of the five-story Wintergarden atrium, which access to the International Riverfront. Architects for the renovation included Skidmore, Owings & Merrill, Gensler, SmithGroup, work continued in and around the complex until 2005. Renaissance Center totals 5,552,000 square feet making it one of the worlds largest commercial complexes, in July 2015, the General Motors Renaissance Center re-branded itself as The GMRENCEN. The logo was modernized and Reflecting a New Detroit was introduced as the new tagline, a photo-journalistic advertising campaign launched to shine a spotlight on the people in Detroit who make remarkable contributions to the city. Conceived by Henry Ford II and financed primarily by the Ford Motor Company, the project was intended to revitalize the economy of Detroit. In its first year of operation it generated over $1 billion in growth for the downtown. The group announced the first phase of construction in 1971, in addition, Detroit Renaissance contributed to a variety of other projects within the downtown area in the ensuing decades. Henry Ford II sold the concept of the RenCen to the City and community leaders, the city within a city arose. The first phase of Renaissance Center opened on July 1,1976, for phase I, the facade of the first five towers was covered with 2,000,000 square feet of glass, and used about 400,000 cubic yards of concrete. This did not include the glass used for the atriums

Renaissance Center
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GM Renaissance Center along the International Riverfront
Renaissance Center
Renaissance Center
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A naval band performs in front of the Renaissance Center in August 2015.
Renaissance Center
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GM World exhibit inside the Renaissance Center.

77.
Fox Theatre (Detroit, Michigan)
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The Fox Theatre is a performing arts center located at 2211 Woodward Avenue in Downtown Detroit, Michigan, near the Grand Circus Park Historic District. Opened in 1928 as a movie palace in the Fox Theatres chain. Designed by theater architect C. Howard Crane, it was listed on the National Register of Historic Places in 1985 and was designated a National Historic Landmark in 1989 for its architecture, the area surrounding the Fox is nicknamed Foxtown. It is the largest surviving movie palace of the 1920s and the largest of the original Fox Theatres, the Fox was fully restored in 1988. The adjacent office building houses the headquarters of Olympia Entertainment and Little Caesars, the Detroit Fox is one of five spectacular Fox Theatres built in the late 1920s by film pioneer William Fox. The others were the Fox Theatres in Brooklyn, Atlanta, St. Louis, architect C. Howard Crane designed the Fox with a lavish interior featuring a blend of Burmese, Chinese, Indian and Persian motifs. There are three levels of seating, the Main Floor above the pit, the Mezzanine. The exterior of the attached 10-story office building features a façade with Asian motifs which, the Fox Theatre in St. Louis, Missouri is its near architectural twin with about 500 fewer seats. The 10-story Detroit Fox Theatre building also contains the headquarters of Olympia Entertainment, the architectural plaster molds of the Detroit Fox were re-used on the St. Louis Fox. The Fox opened in 1928 and remained Detroits premier movie destination for decades, unlike many neighboring theatres, it operated continually until it was closed in the 1980s for restoration. However, by the 1960s, the venue was showing its age, by the 1970s mezzanine and balcony seating areas were closed to the public. In 1984 Chuck Forbes, owner of the State and Gem theaters and these plans were never fully realized, but in 1988 the theater was acquired by new owners, Mike and Marian Ilitch, who fully restored the Fox at a cost of $12 million. Their company, Ilitch Holdings, Inc. is headquartered in the Fox Theater Office Building, the downtown area near Grand Circus Park which encompasses Fox Theatre is sometimes referred to as Foxtown after the theater. In 2000, Comerica Park opened and helped to revitalize the neighborhood along with the construction of Ford Field in 2002, the first Johnny Rockets restaurant in Michigan opened in the Fox Theatre in 2001 but has since closed. The gala opening took place September 21,1928, and featured the silent film ’’Street Angel’’ starring Janet Gaynor, the live show depicted a history of Detroit from its settlement in 1701 to the present. Productions included feature-length movies, shorts and newsreels, and performances by the 60-piece Fox Theatre Grand Orchestra, a 50-voice choir and this was Fox’s version of producer Samuel “Roxy” Rothafel’s Roxyettes. In the 1930s, Shirley Temple made appearances when the theater showed her films, during World War II, like many theaters in the area, the Fox operated 24 hours a day to accommodate defense plant workers on afternoon and evening shifts. The theater routinely grossed $75,000 a week when admission was 35 cents, in 1953, the theater was the first in Michigan equipped for CinemaScope and premiered the epic picture The Robe

78.
Oakland County, Michigan
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Oakland County is a county in the U. S. state of Michigan, northwest of the Detroit metropolitan area. As of the 2010 census, its population was 1,202,362, making it the second-most populous county in Michigan, the county was founded in 1819 and organized in 1820. Oakland County is composed of 61 cities, townships and villages, the city of Detroit is in neighboring Wayne County, south of 8 Mile Road. Oakland County is among the ten highest income counties in the United States with populations over one million people and it is also home to Oakland University, a large public institution that straddles the Auburn Hills and Rochester Hills border. The countys knowledge-based economic initiative, coined Automation Alley, has developed one of the largest employment centers for engineering, but Oakland County has shared in the recent economic hardships brought on by troubles at General Motors, Ford, and Chrysler. It has fared better than Detroit and Flint, as its economy is more diverse, all three automotive companies are major employers within southeast Michigan and have a significant presence within Oakland County. Founded by Territorial Governor Lewis Cass in 1819, sparsely settled Oakland was originally twice its current size, as was customary at the time, as populations increased, other counties were organized from its land area. Woodward Avenue and the Detroit and Pontiac Railroad helped draw settlers in the 1840s, by 1840, Oakland had more than fifty lumber mills, processing wood harvested from the region and the Upper Peninsula. Pontiac, located on the Clinton River, was Oaklands first town, after the Civil War, Oakland was still primarily a rural, agricultural county with numerous isolated villages. By the end of the 19th century, three lines served Pontiac, and the city attracted carriage and wagon factories. In the late 1890s streetcars were constructed here and to Detroit, at that time, developers made southern Oakland County a suburb of Detroit, a Cincinnati firm platted a section of Royal Oak called Urbanrest. Several thousand people moved from Oakland County farms to Detroit as the city attracted factories, by 1910, a number of rich Detroiters had summer homes and some year-round residences in what became Bloomfield Hills. The auto age enveloped Pontiac in the early 1900s, the Oakland Motor Car Company was founded in 1907 and became a part of General Motors Corp. which was soon Pontiacs dominant firm. In the 1950s, the Detroit metropolitan population began migrating to the suburbs, aided by the GI Bill for veterans, Oakland County is among the ten highest-income counties in the United States with more than one million population. The median price of a home in Oakland County increased to $164,697, Oakland County is home to popular super-regional shopping malls such as Somerset Collection, Twelve Oaks Mall, and Great Lakes Crossing Outlets. According to the U. S. Census Bureau, the county has an area of 907 square miles. Oakland County was originally divided into 25 separate townships, which are listed below, each township is roughly equal in size at six miles by six miles, for a total township area of 36 square miles. The roots of design were born out of the Land Ordinance of 1785

Oakland County, Michigan
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Topics
Oakland County, Michigan
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Location in the state of Michigan

79.
Freedom of Information Act (United States)
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The Freedom of Information Act,5 U. S. C. §552, is a freedom of information law that allows for the full or partial disclosure of previously unreleased information. The Act defines agency records subject to disclosure, outlines mandatory disclosure procedures and this amendment was signed into law by President Lyndon B. Johnson, despite his misgivings, on July 4,1966, as indicated by its long title, FOIA was actually extracted from its original home in Section 3 of the Administrative Procedure Act. Section 3 of the APA, as enacted in 1946, gave agencies broad discretion concerning the publication of governmental records, the amendment required agencies to publish their rules of procedure in the Federal Register,5 U. S. C. In addition, §522 requires every agency, upon any request for records which, reasonably describes such records to make such records promptly available to any person. If an agency improperly withholds any documents, the court has jurisdiction to order their production. The Federal Governments Freedom of Information Act should not be confused with the different, many of those state acts may be similar but not identical to the federal act. This push built on existing principles and protocols of government administration already in place, others, though—most notably President Lyndon B. Johnson—believed that certain types of unclassified government information should remain secret. The Privacy Act of 1974 was passed as a measure to ensure the security of government documents increasingly kept on private citizens. The act explicitly applies only to executive branch government agencies and these agencies are under several mandates to comply with public solicitation of information. In this way, there is recourse for one seeking information to go to a court if suspicion of illegal tampering or delayed sending of records exists. The nine current exemptions to the FOIA address issues of sensitivity, the law came about because of the determination of Congressman John E. Moss of California. Moss was the chairman of the Government Information Subcommittee and it took Moss 12 years to get the Freedom of Information Act through Congress successfully. Much of the desire for government transparency stemmed from the Department of Defense and they determined that the misuse of government classification of documents was causing insiders to leak documents that were marked confidential. The committee also determined that the lowest rung of the confidentiality ladder confidential should be removed and they deemed that secret and top secret covered National security adequately. The Moss Committee took it upon itself to reform confidentiality policy and implement punishments for the overuse of classification by officials, the FOIA has been changed repeatedly by both the legislative and executive branches

Freedom of Information Act (United States)
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Freedom of Information Act requests have led to the release of information such as this letter by J. Edgar Hoover about surveillance of ex-Beatle John Lennon. A 25-year battle by historian Jon Wiener based on FOIA, with the assistance of lawyers from the ACLU, eventually resulted in the release of documents like this one.
Freedom of Information Act (United States)
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Freedom of Information Act

80.
Cranbrook Art Museum
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The Cranbrook Educational Community, an education, research and public museum complex in the US state of Michigan. A National Historic Landmark, it was founded in early 20th century by newspaper mogul George Gough Booth, the founders also built Christ Church Cranbrook as a focal point in order to serve the educational complex, though the church is a separate entity under the Episcopal Diocese of Michigan. The sprawling,319 acre campus began as a 174-acre farm, the organization takes its name from Cranbrook, England, the birthplace of the founders father. Cranbrook is renowned for its architecture in the Arts and Crafts, the chief architect was Eliel Saarinen with Albert Kahn responsible for the Booth mansion,1908,1919. Sculptors Carl Milles and Marshall Fredericks also spent many years in residence at Cranbrook, Cranbrook Schools today comprise a co-educational day and boarding college preparatory upper school, a middle school, and Brookside Lower School. The first school to open on the Cranbrook grounds was the Bloomfield Hills School in 1922, founded by George Booth, the Bloomfield Hills School was intended as the community school for local area children. The Bloomfield Hills School ultimately evolved into Brookside School, Booth wanted the Cranbrook School to possess an architecture reminiscent of the finest British Boarding Schools, and retained Finnish architect Eliel Saarinen to design the campus. Cranbrooks initial phase of building was completed in 1928, over the years the Cranbrook School for Boys campus grew to include house Stevens Hall, Page Hall, and Coulter Hall. While primarily functioning as only residential spaces, Page Hall featured a lounge as well as a shooting range. Lerchen Gymnasium, Keppel Gymnasium, and Thompson oval were also constructed on the campus, in the 1960s, Cranbrook School for Boys also constructed a state-of-the-art Science Building named the Gordon Science Center. Realizing that young women would also need a place of their own to learn, Booths wife, mr. Booth decided to let his wife supervise the project herself which she named the Kingswood School Cranbrook. Unlike her husband, Ellen encouraged Saarinen to come up with an interior design for the campus completely on his own. Instead of the buildings that housed the Cranbrook School for Boys. It housed dormitories, a hall, auditorium, classrooms, bowling alley, lounge/common areas. The education at Kingswood School Cranbrook was primarily viewed initially as a finishing school although that would change over time, in 1986, the Cranbrook School for Boys and Kingswood School Cranbrook entered a joint agreement renaming the new institution the Cranbrook Kingswood Upper School. The Cranbrook Academy of Art, one of the leading graduate schools of architecture, art. By 1984, the New York Times would say that the effect of Cranbrook and its graduates, Cranbrook, surely more than any other institution, has a right to think of itself as synonymous with contemporary American design. The buildings were designed and the school first headed by Eliel Saarinen, the graduate program is unusual because there are no courses, all learning is self-directed under the guidance and supervision of the respective artist-in-residence

81.
The New Yorker
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The New Yorker is an American magazine of reportage, commentary, criticism, essays, fiction, satire, cartoons, and poetry. It is published by Condé Nast, started as a weekly in 1925, the magazine is now published 47 times annually, with five of these issues covering two-week spans. Although its reviews and events listings often focus on the life of New York City. The New Yorker debuted on February 21,1925 and it was founded by Harold Ross and his wife, Jane Grant, a New York Times reporter. Ross wanted to create a humor magazine that would be different from perceivably corny humor publications such as Judge. Ross partnered with entrepreneur Raoul H. Fleischmann to establish the F-R Publishing Company, the magazines first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951, during the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross famously declared in a 1925 prospectus for the magazine, It has announced that it is not edited for the old lady in Dubuque, although the magazine never lost its touches of humor, it soon established itself as a pre-eminent forum for serious fiction literature and journalism. Shortly after the end of World War II, John Herseys essay Hiroshima filled an entire issue, D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, Stephen King, and E. B. White. Publication of Shirley Jacksons The Lottery drew more mail than any story in the magazines history. In its early decades, the magazine published two or even three short stories a week, but in recent years the pace has remained steady at one story per issue. Kurt Vonnegut said that The New Yorker has been an instrument for getting a large audience to appreciate modern literature. Vonneguts 1974 interview with Joe David Bellamy and John Casey contained a discussion of The New Yorkers influence, No other art requires the audience to be a performer. You have to count on the readers being a good performer and those writers you mentioned and myself are teaching an audience how to play this kind of music in their heads. Its a learning process, and The New Yorker has been a good institution of the sort needed. They have an audience, and they come out every week, and people finally catch on to Barthelme, for instance. The non-fiction feature articles cover an array of topics. Recent subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, the magazine is notable for its editorial traditions

The New Yorker
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First issue's cover with dandy Eustace Tilley, created by Rea Irvin. The image, or a variation of it, appears on the cover of The New Yorker with every anniversary issue.

82.
Bloomberg Businessweek
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Bloomberg Businessweek is an American weekly business magazine published by Bloomberg L. P. Businessweek was founded in 1929, the magazine was created to provide information and interpretation about what was happening in the business world and it is headquartered in New York City. Megan Murphy was appointed editor of the magazine in November 2016, Businessweek was first published in September 1929, weeks before the stock market crash of 1929. The magazine provided information and opinions on what was happening in the world at the time. Businessweek was originally published to be a resource for business managers, however, in the 1970s, the magazine shifted its strategy and added consumers outside of the business world. Since 1975, Businessweek has carried more annual advertising pages than any magazine in the United States. Stephen B. Shepard served as editor-in-chief from 1984 until 2005 when he was chosen to be the dean of the CUNY Graduate School of Journalism. Under Shepard, Businessweeks readership grew to more than six million in the late 1980s and he was succeeded by Stephen J. Adler of The Wall Street Journal. Businessweek suffered a decline during the recession as advertising revenues fell one-third by the start of 2009. In July 2009, it was reported that McGraw-Hill was trying to sell Businessweek and had hired Evercore Partners to conduct the sale. Because of the liabilities, it was suggested that it might change hands for the nominal price of $1 to an investor who was willing to incur losses turning the magazine around. In late 2009, Bloomberg L. P. bought the magazine—for a reported price between $2 million to $5 million plus assumption of liabilities—and renamed it Bloomberg BusinessWeek. It is now believed McGraw-Hill received the high end of the price, at $5 million. Currently, the magazine still loses $30 million per year, about half of the $60 million it was reported losing in 2009, Adler resigned as editor-in-chief and was replaced by Josh Tyrangiel, who had been deputy managing editor of Time magazine. In early 2010, the title was restyled Bloomberg Businessweek as part of a redesign. Megan Murphy is the editor of the magazine in the eight years of Bloomberg ownership. The magazine is losing between $20-$30 million a year. The magazine is to undergo changes in the second quarter of 2017

83.
Associated Press
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The Associated Press is an American multinational nonprofit news agency headquartered in New York City that operates as a cooperative, unincorporated association. The AP is owned by its contributing newspapers and radio and television stations in the United States, all of which stories to the AP. Most of the AP staff are members and are represented by the Newspaper Guild, which operates under the Communications Workers of America. As of 2007, news collected by the AP was published and republished by more than 1,700 newspapers, in addition to more than 5,000 television, the photograph library of the AP consists of over 10 million images. The AP operates 243 news bureaus in 120 countries and it also operates the AP Radio Network, which provides newscasts twice hourly for broadcast and satellite radio and television stations. Many newspapers and broadcasters outside the United States are AP subscribers, as part of their cooperative agreement with the AP, most member news organizations grant automatic permission for the AP to distribute their local news reports. The AP employs the inverted pyramid formula for writing that enables the news outlets to edit a story to fit its available publication area without losing the storys essentials. Cutbacks at rival United Press International in 1993 left the AP as the United States primary news service, although UPI still produces and distributes stories and photos daily. Other English-language news services, such as the BBC, Reuters, some historians believe that the Tribune joined at this time, documents show it was a member in 1849. The New York Times became a member shortly after its founding in September 1851, initially known as the New York Associated Press, the organization faced competition from the Western Associated Press, which criticized its monopolistic news gathering and price setting practices. The revelations led to the demise of the NYAP and in December 1892, when the AP was founded, news became a salable commodity. The invention of the press allowed the New York Tribune in the 1870s to print 18,000 papers per hour. During the Civil War and Spanish–American War, there was a new incentive to print vivid, Melville Stone, who had founded the Chicago Daily News in 1875, served as AP General Manager from 1893 to 1921. He embraced the standards of accuracy, impartiality, and integrity, the cooperative grew rapidly under the leadership of Kent Cooper, who built up bureau staff in South America, Europe and, the Middle East. He introduced the telegraph typewriter or teletypewriter into newsrooms in 1914, in 1935, AP launched the Wirephoto network, which allowed transmission of news photographs over leased private telephone lines on the day they were taken. This gave AP a major advantage over other media outlets. While the first network was only between New York, Chicago, and San Francisco, eventually AP had its network across the whole United States, in 1945, the Supreme Court of the United States held in Associated Press v. The decision facilitated the growth of its main rival United Press International, AP entered the broadcast field in 1941 when it began distributing news to radio stations, it created its own radio network in 1974

Associated Press
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The AP headquarters in October 2008, located at 450 West 33rd Street, in New York City.
Associated Press
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Associated Press
Associated Press
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Logo on the former AP Building in New York City
Associated Press
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The APTN Building in London

84.
Detroit Free Press
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The Detroit Free Press is the largest daily newspaper in Detroit, Michigan, USA. The Sunday edition is entitled the Sunday Free Press and it is sometimes informally referred to as the Freep. It primarily serves Wayne, Oakland, Macomb, Livingston, Washtenaw, the Free Press is also the largest city newspaper owned by Gannett, which also publishes USA Today. The Free Press has received ten Pulitzer Prizes and four Emmy Awards and its motto is On Guard Since 1831. The newspaper was begun by John R. Williams and his uncle, Joseph Campau, the first issues were printed on a Washington press purchased from the discontinued Oakland Chronicle of Pontiac, Michigan. It was hauled from Pontiac in a wagon over rough roads to a building at Bates, the press could produce 250 pages an hour, hand operated by two men. The first issues were 14 by 20 inches in size, with five columns of type, Sheldon McKnight became the first publisher with John Pitts Sheldon as editor. In the 1850s, the paper was developed into a leading Democratic publication under the ownership of Wilbur F. Storey, Storey left for the Chicago Times in 1861, taking a lot of the staff with him. In the 1870s ownership passed to William E. Quinby, who continued its Democratic leanings and established a London, in 1940, the Knight Newspapers purchased the Free Press. During the following 47 years the Free Press competed with The Detroit News, the Free Press was delivered and sold as a morning paper while the News was sold and delivered as an evening newspaper. In 1987, the paper entered into a one hundred-year joint operating agreement with its rival, the combined company is called the Detroit Media Partnership. The two papers began to publish joint Saturday and Sunday editions, though the editorial content of each remained separate. At the time, the Detroit Free Press was the tenth highest circulation paper in the United States, july 13,1995, Newspaper Guild-represented employees of the Free Press and News and the pressmen, printers and Teamsters working for the Detroit Newspapers distribution arm went on strike. By October, about 40% of the staffers had crossed the picket line. The strike was resolved in three years later, and the unions remain active at the paper, representing a majority of the employees under their jurisdiction. In 1998, the Free Press vacated its headquarters in downtown Detroit. August 3,2005, Knight Ridder sold the Free Press to the Gannett company, the News, in turn, was sold to MediaNews Group, Gannett continues to be the managing partner in the papers joint operating agreement. The Free Press resumed publication of its own Sunday edition, May 7,2006, a quirk in the operating agreement, however, allows the News to continue printing its editorial page in the Sunday Free Press

85.
Brush Park
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The Brush Park Historic District, frequently referred to as simply Brush Park, is a 22-block neighborhood located within Midtown Detroit, Michigan and designated by the city. It is bounded by Mack Avenue on the north, Woodward Avenue on the west, Beaubien Street on the east, Street, and is recognized by the National Register of Historic Places. Originally part of a French ribbon farm, Brush Park was developed beginning in the 1850s as a residential neighborhood for Detroits elite citizens by entrepreneur Edmund Askin Brush. Dozens of Victorian mansions were built there during the decades of the nineteenth century. Severely affected by depopulation, blight and crime during the 1970s and 1980s, beginning in the 1850s, entrepreneur Edmund Askin Brush, son of Elijah, began developing his familys property, located conveniently close to downtown, into a neighborhood for Detroits elite citizens. The first street, named after Colonel John Winder, was opened in 1852, the streets followed soon afterwards. In the late 19th century, Brush Park became known as the Little Paris of the Midwest, architects who designed these mansions included Henry T. Brush, George D. Mason, George W. Nettleton, and Albert Kahn. Homes were built in Brush Park beginning in the 1860s and peaking in the 1870s and 1880s, around the same time, Brush Park saw the construction of its first apartment buildings. One of the neighborhoods earliest examples of type of structure was the Luben Apartments, built in 1901 by architect Edwin W. Gregory. By 1921, all of the homes on Alfred Street were apartments or rooming houses, by the 1930s many African Americans had moved into the area, as a result, Brush Park became home to a vibrant black community, together with the nearby Black Bottom–Paradise Valley area. Mercy Hospital was the first black-owned hospital in Detroit, founded by Dr. David Northcross in 1917, it was located at 248 Winder Street. The Great Depression and the tensions of the 1940s led to a rapid deterioration of the neighborhood. Longtime resident Russell McLauchlin described Brush Parks decline in the preface to his book Alfred Street, is now in what city-planners call a blighted area, the elms were long ago cut down. No representative of the old neighborfamilies remains, the houses, mostly standing as they stood a half-century ago, are dismal structures. Some have night-blooming grocery stores in their front yards, all stand in bitter need of paint and repair. It is a street, a scene of poverty and chop-fallen gloom. The first serious redevelopment plan in Brush Parks history was the Woodward East Renaissance project, planned to be completed in 1976, the ambitious plan included restoring the surviving historic mansions and erecting modern residential buildings on the empty lots, but it was left unrealized due to disorganization. The area bounded by Alfred, Brush, Watson, and John R. Abandoned buildings became targets for vandals and arsonists, as a result, dozens of structures were demolished by the City for security reasons

Brush Park
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Woodward East Historic District
Brush Park
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A 1906 photograph of the First Unitarian Church taken from Woodward Avenue
Brush Park
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The Lucien Moore House at 104 Edmund Place, constructed in 1885 and restored in 2006
Brush Park
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Bonstelle Theatre

86.
Cass Farm Multiple Property Submission
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The Cass Farm MPS is a US multiple property submission to the National Register of Historic Places which was approved on December 1,1997. The structures included are all located in Midtown, in the Cass Farm area in Detroit, Michigan, USA. The Cass Farm area is defined as occupying the space between Woodward Avenue on the east, the Lodge Freeway on the west, Warren Avenue on the north, the Cass Farm area spans portions of four original plattings. These include the portions of three original ribbon farms, as well as a section of the Park Lots between Woodward and Cass. The Park Lots were originally platted after the disastrous 1805 fire in Detroit, after the fire, the United States Congress authorized the platting of a new village at Detroit. Land titles were granted to settle remaining uncertainty over the ownership of some parcels, during this platting, the land on both sides of the main thoroughfare, Woodward Avenue, was set aside, with congress authorizing the platting of the Park Lots. Development of the area, however, only started in the 1860s, Cass Farm ran between what is now Cass Avenue and Third Avenue. In 1816, Lewis Cass purchased the ribbon farm, the property was gradually developed over the years, with the sections closest to the river being developed first. By the time Cass died in 1866, a few of the north of Martin Luther King Boulevard had just been platted. Casss children continued to plat the area after his death, the Jones/Crane Farm was located between what is now Third Avenue and the alley east of Fourth Street. De Garmo Jones, onetime mayor of Detroit, received the property in 1823, the rear portion of the ribbon farm changed owners multiple times until Flavius JB Crane purchased it in 1854, when he began platting it. The Forsythe Farm was located between what is now Fourth Street and the Lodge Freeway, john Forsythe purchased the property in 1829, it was later subdivided multiple times, with various owners eventually platting the property. Development of the area was relatively slow, urban development of the area did not really begin until 1870, when the population of Detroit was nearly 80,000. Streetcar lines established in the 1860s allowed residents to more conveniently travel from the Cass Farm area to downtown, the West Canfield Historic District, platted in 1871, was one of the first recorded subdivisions in the area. The district features large and expensive lots, and many prominent Detroiters settled on the block, a severe depression slowed development, but it picked up again in the late 1870s. The period from 1880-1895 brought a boom in the construction of elegant single-family, the lots on Woodward were the most expensive and featured the most opulent homes, the lots immediately off the main street were soon filled with the homes of Detroits upper class. School and religious buildings were constructed in the area. As Detroit grew, the demand for apartment housing also grew, beginning in 1895 and this was particularly true in the last portion of the district to be developed, the section south of Warren between Cass and Third

87.
East Ferry Avenue Historic District
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The East Ferry Avenue Historic District is a historic residential district in Midtown Detroit, Michigan. The nationally designated historic district stretches two blocks from Woodward Avenue east to Brush Street, the locally designated district includes a third block between Brush and Beaubien. The district includes the separately designated Col. Frank J. Hecker House and it was designated a Michigan State Historic Site in 1976 and listed on the National Register of Historic Places in 1980. The Inn on Ferry Street is a member of Historic Hotels of America, in 1856, the Ferry Seed Company was founded in Detroit, the company established a large farm at the corner of East Ferry and Woodward to grow the seeds that were sold nationwide. In the mid-1880s, then-owner D. M. Ferry platted the farm into lots along East Ferry Avenue. At the time Woodward was a residential street, so lots facing Woodward were quite expensive. Lots on the streets were less expensive, and East Ferry was quickly settled by prosperous middle. Woodward Avenue since redeveloped into commercial property, but a group of mansions. Around World War I, a number of professionals and business people found they could purchase homes on East Ferry, the Omega Psi Phi fraternity and the Lewis College of Business still remain on East Ferry. After World War II, the Merrill Palmer Institute purchased several homes along East Ferry, however, Merrill Palmer was unable to expand and in the late 1960s sold the homes to the Detroit Institute of Arts for their proposed expansion. The DIA eventually realized the property on East Ferry would not be useful to them, four of these homes were turned into The Inn on Ferry Street, a successful bed and breakfast, others are now residential. Recently, new homes have been constructed in the neighborhood, architecturally congruent with the designs of the 19th century homes already there, houses on East Ferry are built close together on small lots, set back from the street. Many of the carriage houses still exist. In general, the neighborhood consists primarily of Queen Anne homes, built of brick and sandstone, with bay windows or turrets, there are some Romanesque Revival, and Colonial Revival designs. Mills, A. E. Harley, and Smith, Hinchman & Grylls, cultural Center Historic District Hill, Eric J. and John Gallagher. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture, meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A

88.
Cass Technical High School
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Cass Technical High School, commonly referred to as Cass Tech, is a four-year university preparatory high school in Midtown Detroit, United States. The school is named in honor of Lewis Cass, an American military officer, the school is a part of Detroit Public Schools. Until 1977, Cass was Detroits only magnet school and the only non-neighborhood enrollment school in Detroit, today, Cass is one of few magnet schools in Detroit. Entrance to Cass is based on test scores and middle school grades, students are required to choose a curriculum path—roughly equivalent to a college major—in the ninth grade. Areas of study include, but are not limited to, arts and communication, business management and marketing, engineering and manufacturing, human services, the school was founded on the third floor of the old Cass Union School in 1907. Its historic landmark building on Second Avenue in downtown Detroit was built in 1917, to the south of it an addition designed by Albert Kahn was built in 1985. The new, modern facilities of the school were built in 2004 in an adjacent lot to the north of the building on Grand River Avenue. In 2007 there was a fire in the old structure. Complete demolition of the vacant Cass Tech building began in June 2011 and was finished by November, pictures of the old historic structures, both from the outside and the abandoned inside floors and classes, can be seen here. In addition, a 3D floor-by-floor interactive map of the old building is here as well. Following the fire in the old structure, it was demolished and removed by Homrich Demolition, at time of demolition, the school building was approximately 830,000 square feet and weighed more than 100,000 short tons. Over 90% of the material in the building was recycled for other uses or as backfill, in 2008 some classes that were not very popular with students were removed due to reduction in teacher staffing due to declining enrollment. Based on current enrollment information, there are approximately 2,086 students that attend Cass Technical High School, there are 624 students in the ninth grade,537 students in the tenth grade,466 in the eleventh grade, and 459 in the twelfth grade. Of the 2,086 students, there are 1,269 girls and 817 boys, Cass Technical High Schools average ACT score is 21, which is four points higher than the average for Detroit public high schools. Cass offers eleven advanced placement courses including language composition, history, chemistry, calculus, students are required to maintain a 2.5 grade point average on a scale of 4.0 in order to retain enrollment. Cass Tech students strong academic performances draw recruiters from across the country, in 1984 Cass Tech was honored by the US Department of Education among 262 schools that should shine as inspirational model for others that included public and private schools. In 2006 Cass represented DPS at the National Academic Games Olympics, many highly noteworthy performers in jazz, rhythm and blues, rock and hip-hop idioms have graduated from Cass Technical High School. Over the years, the choirs have produced two CDs and are now working on their third, Cass Tech is the only school in the city of Detroit with a Harp and Vocal Ensemble

Cass Technical High School
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Cass Tech, 2010
Cass Technical High School
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Lewis Cass Technical High School

89.
Detroit Institute of Technology
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The Detroit Institute of Technology was a fully accredited, four-year technical college in Detroit, Michigan that closed operations in 1981. A pharmacy program, originally organized under the Detroit College of Medicine, in 1957, the pharmacy program merged with the School of Pharmacy at Wayne State University. In 1971, the S. S. Kresge Corporation, which was moving to Troy, Michigan, for a time, affiliated with Massachusetts Institute of Technology. With which the DIT trustees commissioned a study, to discover just what their role was approaching the 1980s. Lurking on the horizon was the Iranian hostage crisis, one-third of students then at DIT were Iranians. The college played in the NAIA College Division, the college also previously fielded a football team until 1951. It consisted of 3 colleges,1 each of liberal arts and sciences, business administration, the transcripts for DIT students are available from Lawrence Technological University in Southfield, MI, which also offers alumni programs. A former teacher at DIT in the 1890s was Henry Ford, inventor, innovator, notable in Michigan politics, alumnus Richard H. Austin, former Michigan Secretary of State. Its collection of publications began in 1966

Detroit Institute of Technology
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Detroit Institute of Technology

90.
Detroit Medical Center
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The Detroit Medical Center, located in Midtown Detroit, Michigan, is a collection of hospitals that has more than 2,000 licensed beds,3,000 affiliated physicians and over 12,000 employees. The DMC is affiliated with the schools of Wayne State University. Detroit Medical Center is fully accredited by the Joint Commission on Accreditation of Healthcare Organizations, the Detroit Medical Center is as an award winning medical center and is the official healthcare services provider for the Detroit Tigers, and the Detroit Red Wings. On March 19,2010, Vanguard Health Systems and Detroit Medical Center announced an $850 M expansion and renovation plan, Detroit Medical Center formally became a part of Vanguard Health Systems on December 30,2010, as a for profit corporation. Vanguard has agreed to assume all debts and pension obligations, in June 2013, rival Tenet Healthcare announced it would purchase Vanguard for $1.73 billion. The transaction closed October 3,2013, the Detroit Medical Center was organized in 1985 as a union among several hospitals, Harper University Hospital, Grace Hospital, Hutzel Womens Hospital, and Childrens Hospital of Michigan. On the west, and Beaubien on the east, Harper Hospital was founded in 1863, receiving its first patients, Civil War soldiers, in 1864. Two years later it opened as a general hospital, in 1882, a new hospital building was constructed on what is now the campus of the DMC. Additional buildings were constructed in 1913 and 1928, Hutzel Womens Hospital, was founded in 1868. Grace Hospital was founded in 1883, and Childrens Hospital was founded three years later, Detroit Receiving was founded in 1915, and moved to its present location in 1980. The Detroit Medical Center is a part of Tenet Healthcare, a health care provider. The Detroit Medical Center operates eight general and specialty hospitals in southeast Michigan, former Wayne County Prosecutor Michael Duggan was President and Chief Executive Officer from January 2004 through December 2012 when he left to mount a campaign to become mayor of Detroit. Joseph Mullany succeeded Duggan as CEO, former WDIV journalist Emery King is contracted to serve as the voice commonly heard on DMC commercials, and presents the Emery King Healthcare Video Library at the Detroit Medical Centers website. Two of the Detroit Medical Center hospitals ranked in the top one percent in heart failure outcomes in the U. S, the list included data from 4,807 hospitals across the United States. Of those hospitals, only 38 were ranked above the national average, the results are meant to assist the public in assessing how well their area hospitals care for patients with specific types of medical conditions including heart failure and heart attacks. The Detroit Medical Center is the health system in the state of Michigan with two hospitals ranked at this level. The Detroit Medical Center was named to the list of the nation’s 100 Most Wired Hospitals, the survey focuses on how hospitals use information technologies for quality, customer service, public health and safety, business processes and workforce issues. Based on analysis of the ninth annual Most Wired Survey and Benchmarking Study results, the Detroit Medical Center received the prestigious “Best Practices in Infrastructure Management” award in 2006

91.
Detroit Receiving Hospital
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Detroit Receiving Hospital in Detroit, Michigan, is the states first Level I Trauma Center. Receiving’s emergency department treats more than 105,000 patients annually, Receiving also features the state’s largest burn center, Michigan’s first hospital-based 24/7 hyperbaric oxygen therapy program, and Metro Detroit’s first certified primary stroke center. It is one of the eight hospitals and institutions that comprise the Detroit Medical Center, Detroit Receiving Hospital was founded in 1915 as a city-owned hospital, dedicated to caring for everyone, regardless of ability to pay. In 1965, the hospital was renamed Detroit General, and maintained that mission, in 1980, Detroit General moved to a new 320-bed facility, and reclaimed the name Detroit Receiving Hospital. DRH was the first American College of Surgeons verified Level I Trauma Center in Michigan, focusing on adult medical care for emergency, trauma, and critically ill patients, the majority of DRH patients arrive through the emergency department. The University Health Center clinics adjacent to Detroit Receiving treat more than 250,000 patients annually, approximately 95% of the physicians on staff at the hospital also serve on the faculty of Wayne State University School of Medicine. In 1976, before emergency medicine was recognized as a specialty, nearly half the physicians currently practicing in Michigan have received some of their training at Detroit Receiving Hospital. DRH was also the site of the first cranioplasty, using a pre-cast replica of missing bone to repair a skull, Detroit Receiving hosts the longest-running, annual trauma conference in the country, the Detroit Trauma Symposium. The facility received an award from the American Institute of Architecture for design, the collection features more than 1,200 pieces, estimated at more than $3 million, one of the largest hospital-based collections in the nation. Detroit Receiving Hospital is listed in The Leapfrog Group’s 2008 Top Hospital list for patient quality and safety, the Leapfrog group identified 33 hospitals, which have achieved the highest level for quality and safety practices. Detroit Receiving Hospital also received Magnet Status in 2009 http, //motorcityorthopaedics. org/index

Detroit Receiving Hospital
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DRH from the west, looking at the University Health Center portion

92.
Harper University Hospital
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Harper University Hospital is one of eight hospitals and institutes that compose the Detroit Medical Center. Established in 1863, Harper is among the oldest U. S. medical teaching institutions, Nursing became professionalized in the late 19th century, opening a new middle-class career for talented young women of all social backgrounds. The Harper Hospital School of Nursing, begun in 1884, was a national leader, base Hospital No.17 was organized at Harper Hospital in September 1916, and was mobilized on June 28,1917. On July 3,1917, the organization was transferred to Allentown, Pennsylvania, leaving there July 11, for New York City, where it embarked on the Mongolia and sailed July 13,1917. It arrived at Southampton, England on July 24, by way of Plymouth, England, and at Le Havre, France on July 25,1917. It remained at Le Havre until July 28, when it proceeded by rail to its destination, Dijon, Department Cote Dor, in the advance section. Base Hospital No.17 was the first American organization to arrive at that station, at Dijon the unit was assigned the Hospital St. Ignace, then operated by the French Army. The French had about 230 patients in the hospital when the unit arrived and it began receiving American patients on August 21,1917, but the hospital was not officially turned over to the commanding officer until September 2,1917. In June 1918, when the capacity of the hospital proved inadequate, a French seminary was taken over at Plombiers, France, about 3½ miles from the main hospital, and was operated as an annex. The seminary was a stone building, of 800-bed capacity. The mechanical blood-pumping machine allowed a human heart to be stopped and operated on while the machine maintained blood circulation in the patients body. The successful first surgery occurred on 3 July 1952, in 2004, Harper was the first to debut the Intraoperative Magnetic Resonance Imaging system in Michigan. Also in 2004, surgeons at Harper were the first to perform a transplant on an HIV recipient. The hospital is now staffed by faculty of the Wayne State University School of Medicine, Harper is in The Leapfrog Group’s 2008 Top Hospital list for patient quality and safety. The Leapfrog Group rankings are based on a survey conducted at 1,220 hospitals across the country, Harper University Hospital ranked above the national average in a survey compiled by the Centers for Medicare and Medicaid Services and the Federal Department of Health and Human Services. The list included data from 4,807 hospitals across the United States, of those hospitals, only 38 were ranked above the national average. The results are meant to assist the public in assessing how well their area hospitals care for patients with specific types of conditions, including heart failure. Harper University Hospital has received approval from the Surgical Review Corporation

Harper University Hospital
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Harper Hospital

93.
Detroit Historical Museum
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The Detroit Historical Museum is located at 5401 Woodward Avenue in the citys Cultural Center Historic District in Midtown Detroit. It chronicles the history of the Detroit area from cobblestone streets, 19th century stores, the assembly line, toy trains, fur trading from the 18th century. Attorney and historian Clarence M. Burton donated his collections to the Detroit Public Library in 1914, in December 1921, Burton brought together 19 prominent local historians to found the Detroit Historical Society, an organization dedicated to the preservation of the city’s history. In 1927, membership offices were leased and Society treasurer J. Bell Moran was appointed to set up a museum. A curator was hired and on November 19,1928, the “highest museum in the world” opened in a suite on the 23rd floor of the Barlum Tower. On July 24,1951, the 250th anniversary of Detroit’s founding by Antoine Laumet de la Mothe Cadillac, in attendance were such dignitaries as Governor G. Mennen Williams, Mayor Albert E. Cobo, U. S. Senator Homer S. Ferguson, the French and British ambassadors and Detroit native, in 1949, the Detroit Historical Museum acquired one of the last commercial sailing vessels on the Great Lakes, the J. T. Wing. It operated the ship as a museum until 1956 when it shuttered because of its deteriorating condition, on July 24,1961, it was replaced by the Dossin Great Lakes Museum which opened on Belle Isle Park as a branch of the Historical Museum devoted to maritime history. Portions of the fort were deactivated after World War II and the barracks, the remaining parts of the installation were ceded by the army to the city through 1976. In 2006, operation of the fort was given to the Detroit Recreation Department, shortly after the death of The Detroit News style columnist Charlotte Tavy Stone in 1985, the museum established the Tavy Stone Fashion Library. The library and costume gallery consolidate the holdings on historical costumes. The Detroit Historical Society was founded in December 1921 with prominent Detroit historian Clarence M. Burton, since the first museum opened in the Barlum Tower as Detroits best kept secret, prominent Detroiters as trustees of the Society and the public have added to the collection. As of today, it has over 200,000 items, however, by the late 1930s the Society had become more of a social club than a historical Society. In 1941, the Society recruited The Detroit News columnist George Stark into membership and it was later said the DHS was seeking mention in Starks daily column, but what they got was George instead. With J. Bell Moran being called into government service due to the war, George Stark took over the leadership of the DHS and instituted a building campaign in 1942. By this time, the Museum was in the former Homer Wiliams home on Merrick Street across from what is now the Cass Avenue entrance to the Detroit Public Library. The Williams home, where future Michigan Governor G. Mennen Soapy Williams grew up, has replaced by part of the Wayne State University Campus. After a 1946 referendum spearheaded by the DHS and the City of Detroit, the Detroit Historical Society turned its collection and sizable building fund over to the city and assumed the role of being the principal outside financial backer to the museum

Detroit Historical Museum
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Detroit Historical Museum

94.
Michigan Science Center
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The Michigan Science Center is a science museum in Detroit, Michigan. It is located at the site of the former Detroit Science Center which closed in 2011, the Michigan Science Center was formed as a new non-profit organization and purchased the assets of the Detroit Science Center. The Michigan Science Center opened December 26,2012, dexter Ferry is credited for the vision and dedication that led to the creation of the Detroit Science Center, the Detroit-area businessman and philanthropist founded the center in 1970. Wright Museum of African American History, the center was closed briefly in the early 1990s after losing funding from the State of Michigan, but re-opened in 1991. Neumann/Smith Architecture completed the 67,600 sq ft. addition and 51,000 sq ft. renovation. The Detroit Science Center had a grand re-opening celebration in July 2001 and continued to expand, adding a new Digital Dome Planetarium in December 2001 and a 4D Toyota Engineering Theater in 2008. The school facility has classrooms, a gymnasium with locker rooms, food service, and offices, two Detroit companies completed the new addition, GunnLevine Architects and DeMaria Building Company. On September 26,2011, the Detroit Science Center closed due to monetary issues, several planned events, programs, and trips were either postponed or rescheduled to take place at the Detroit Childrens Museum. On September 7,2012, local Detroit news reports indicated that a new organization, a spokesperson stated funding over the past year had been significant but did not disclose numbers. A board of directors for the Michigan Science Center first met on September 10,2012, the Michigan Science Center began operations on December 26,2012. Michigan Science Center University Prep Science & Math Thompson Educational Foundation 42. 35844°N83. 062130°W﻿ /42.35844, -83.062130

95.
Detroit Masonic Temple
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The Detroit Masonic Temple is the worlds largest Masonic Temple. Located in the Cass Corridor of Detroit, Michigan, at 500 Temple Street, the building contains a variety of public spaces including three theaters, three ballrooms and banquet halls, and a 160 by 100 feet clear-span drill hall. Recreational facilities include a pool, Handball court, gymnasium, bowling alley. Architect George D. Mason designed the structure as well as the Masonic Temple Theatre, a venue for concerts, Broadway shows. It contains a 55-by-100-foot stage, one of the largest in the country, Detroit Masonic Temple was designed in the neo-gothic architectural style, using a great deal of limestone. The ritual building features 16 floors, stands 210 feet tall and it dominates the skyline in an area known as Cass Corridor, across Temple Street from Cass Park, and Cass Technical High School. It is within walking distance of the MotorCity Casino Hotel, the Masonic Temple Association was incorporated in Detroit in 1894. It moved into its first temple, on Lafayette Boulevard at First Street, outgrowing these quarters, the Association purchased land on Bagg Street to build a new temple that would also include a public theater. Fund-raising for construction of the building raised $2.5 million, the cornerstone was placed on September 19,1922, using the same trowel that George Washington had used to set the cornerstone of the United States Capitol in Washington D. C. The building was dedicated on Thanksgiving Day,1926, the horseshoe-shaped auditorium originally had a capacity of 5,000. Due to poor sight lines along the sides of the stage, nearly 600 seats were removed and it was listed on the National Register of Historic Places in 1980, and is part of the Cass Park Historic District, which was established in 2005. In April 2013, the building was reported to be in foreclosure over $152,000 in back taxes owed to Wayne County. The debt was paid off in May 2013, and in June 2013, it was revealed that $142,000 of the bill was footed by singer-songwriter Jack White, a Detroit native known for his work with The White Stripes. He wanted to help the temple in its time of need as they had helped his mother in a time of need, in response, the Detroit Masonic Temple Association renamed its Scottish Rite cathedral the Jack White Theater. The Detroit Masonic Temple has been the largest Masonic Temple in the world since 1939, the stage of the auditorium is the second largest in the United States, having a width between walls of 100 feet and a depth from the curtain line of 55 feet. In between these areas are a 1, 586-seat Scottish Rite Cathedral, and a 17, 500-square-foot drill hall used for trade shows, the drill hall is also home to Detroit Roller Derby. The drill hall has a floor, where the entire floor is laid on felt cushions. This type of construction, also known as a sprung floor, the building houses two ballrooms, the Crystal Ballroom and the Fountain Ballroom which measures 17,264 square feet and accommodates up to 1,000 people

96.
Scarab Club
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It was designated a Michigan State Historic Site in 1974 and listed on the National Register of Historic Places in 1979. The Scarab Club was formed in 1907 and it began as an informal association named the Hopkin Club after the founder, marine painter Robert Hopkin. The members met regularly to talk art, eat dinner, renamed the Scarab Club in 1913, the club grew in popularity, and member Lancelot Sukert, a Detroit architect, designed the current clubhouse, which opened its doors on October 5,1928. The interior of the club is decorated with objets dart created and contributed by members over the decades, the building showcases exquisite tile sculptures from Pewabic Pottery, including the Scarab Club logo. The ceiling beams of the lounge once served as the clubs guest book, the clubs themed costumed balls, held from 1917 to 1950, were the single most important social event in Detroit each year. Life magazine covered the 1937 event with a photo spread. Radio station WJR broadcast live from the 1937 Scarabean Cruise ball, for many years The Book Club of Detroit held its regular meetings at the Scarab Club. The annual Exhibition of Michigan Artists at the Detroit Institute of Arts was originated by the Scarab Club in 1911, in 1915 the Scarab Club Prize became the top award and in 1917 the first Scarab Club Gold Medal was awarded. The gold medal is still the clubs most prestigious award, given each December at the Gold Medal Exhibition, the clubhouse was built in 1928 in the Arts and Crafts style by architect and member Lancelot Sukert. The exterior mosaic tiles, which appeared in 1928 renderings, were not completed until the 1980s, muralist and member Edgar Yaeger, who was a junior member of the club in 1928. The ceramic scarab embedded over the front entrance was designed by sculptor Horace Colby, the club contains several galleries and lounges, as well as six working artist studios. Other beams were painted to depict events in the clubs history, the lounge also contains a fireplace with mural depicting different levels of club membership, painted by Paul Honoré. Original mica and metal lighting and furnishings complete the decor, hill, Eric J. and John Gallagher. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture

Scarab Club
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Scarab Club
Scarab Club
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Venues

97.
William C. Boydell House
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Boydell House is a double house located at 4614 Cass Avenue in Midtown Detroit, Michigan. It was listed on the National Register of Historic Places in 1982, Boydell was born in 1849 in Staffordshire, England. His parents soon emigrated to London, Ontario, and five years moved to Detroit. In 1865 he began work as a clerk in the paint works of James H. Worcester, in 1867 William and his older brother John began their own firm, the Boydell Brothers White Lead and Color Company, with William as vice-president. The firm was owned by the Boydell family until 1959, in 1895, William Boydell constructed this double house, designed by Almon Clother Varney as his home. He lived there until his death in 1902, Boydell House is a three-story brick and limestone Beaux-Arts double house with a hip roof, built to resemble a single-family home

William C. Boydell House
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William C. Boydell House
William C. Boydell House
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City

98.
Charles Lang Freer House
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The Charles Lang Freer House is located at 71 East Ferry Avenue in Detroit, Michigan, USA. The house was built for the industrialist and art collector Charles Lang Freer, whose gift of the Freer Gallery of Art began the Smithsonian Institution in Washington. The structure currently hosts the Merrill Palmer Skillman Institute of Child & Family Development of Wayne State University and it was designated a Michigan State Historic Site in 1970 and listed on the National Register of Historic Places in 1971. Charles Lang Freer, in partnership with Col. Frank J. Hecker, Freer travelled widely, with one of his favorite spots being Newport, Rhode Island. There, he was impressed by the shingle style summer cottages built by the wealthy. Desiring a similar home, in 1890 Freer contracted with Wilson Eyre to design a home in Detroit, the house, on Ferry Street next door to Heckers home, was completed in 1892. For the exterior, Eyre used coursed hard blue limestone from New York for the first floor, dark, closely spaced shingles of Michigan oak cover most of the rest of the façade. On the third story, a gable and various dormers interrupt the roofline. Chimneys dominate the east and west ends of the home, underneath which are porches and these porches were originally open-air, but are currently closed stucco. On the interior, Eyre designed the home with Freers art collection in mind, there are 22 rooms and 12 fireplaces in the house, as well as an elevator, and numerous balconies, bay windows, enclosed porches, and skylights. In 1906, Eyre designed an art gallery, added above the stable, in 1904, Frederick Leylands widow sold Freer the Peacock Room, designed by James Whistler, and Freer had Eyre design another room in the carriage house in which to install it. In 1916, Lizzie Pitts Merrill Palmer left a bequest of 3 million dollars to found a school centering on home, in 1923, the Institute purchased the house, and have remained there since. In 1980, this Institute was incorporated into Wayne State University, the Institute runs the Early Childhood Center, a preschool for area children age 2 1/2 to 5, and has a research faculty of 12 studying children from infancy to adulthood. Hill, Eric J. and John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list MPSI, Freer House Main Page

Charles Lang Freer House
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Charles Lang Freer House
Charles Lang Freer House
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The structure on the right is the carriage house of the Freer House, where the Peacock Room was installed. The structure on the left is the carriage house of the next-door Hecker house.
Charles Lang Freer House
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The Peacock Room.
Charles Lang Freer House
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City

99.
Robert M. and Matilda (Kitch) Grindley House
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The Robert M. and Matilda Grindley House was a private residence located at 123 Parsons Street in Detroit, Michigan. It was listed on the National Register of Historic Places in 1997, the Robert and Matilda Kitch Grindley House was constructed in 1897 as a single-family dwelling for the Grindley family. The house is significant because of its association with the Grindley family, three of the Grindleys made significant contributions to the surrounding community, including participating in various churches and in the social development of local youth. Robert McBride Grindley married Matilda Kitch in 1891, Robert was president of City & Suburban Homes Company, Ltd. and was involved in much of the subdivision of what is now Detroits western and northwestern sections. The company helped manufacturers locate plant sites, found temporary and permanent homes for their workers, and pioneered, Robert was also a key influence in the establishment of the Boys Club of Detroit and was a Charter Member of the Detroit Board of Commerce. Sarah A. Grindley opened several Sunday schools and a camp, joseph Grindley was known as a philanthropist, he founded a camp for under-privileged children and worked with a number of childrens clubs. The Detroit Symphony Orchestra Hall decided to demolish the home to make room for a structure in 1998. The house was a 2 1⁄2-story brick building, built in a Colonial Revival style with Classical detailing, the window was originally contained in an ornate surround, with a sill supported by modillions, colonettes, and a lintel with carved swags topped with a shell motif. Side dormers with a lunette, also faced with slate

Robert M. and Matilda (Kitch) Grindley House
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Robert M. and Matilda (Kitch) Grindley House
Robert M. and Matilda (Kitch) Grindley House
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Parking lot where this building once stood, photographed in 2008
Robert M. and Matilda (Kitch) Grindley House
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City

100.
Col. Frank J. Hecker House
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The Col. Frank J. Hecker House is a historic home that was built in 1888. It is located at 5510 Woodward Avenue in Midtown Detroit, Michigan and it was designated a Michigan State Historic Site in 1958. It is located near to the East Ferry Avenue Historic District and Cultural Center Historic District, the house has been owned by Wayne State University since September 2014. Frank J. Hecker was born in Freedom, Michigan, in 1846 and he joined the Union Army at age 18, and he rose to the rank of Colonel. After the conclusion of the Civil War, he hired on as an agent for the Union Pacific Railroad, using this experience, he later organized the Peninsular Car Company in Detroit, making his fortune in the railroad supply business. Hecker served in the Army again in the Spanish–American War, where he was in charge of transporting Spanish prisoners and this service brought him to the attention of President Theodore Roosevelt, who in 1904 appointed Hecker to the Panama Canal Commission. In 1888, Hecker hired the short lived architectural firm of Scott, Kamper & Scott and began construction of the mansion on Woodward Avenue, at the corner of Ferry. The house, with 21,000 square feet, is an example of French Châteauesque style based on the Château de Chenonceaux near Tours. Hecker used his home to host elaborate parties, where he entertained luminaries such as presidents William McKinley, the exterior of the home has large turrets at the corners, and Flemish dormers in the steep hip roof. Several bays project from the body of the home. A carriage house in the rear is visible from Woodward. At one point, this structure was converted into a hall capable of seating 200. The interior has 49 rooms, including a large oak-paneled hall designed for parties, an oval dining room done in mahogany, a lobby done in English oak. The fireplaces were constructed of Egyptian Nubian marble, and onyx, Hecker lived in the home until his death in 1927. For the next twenty years, the home was owned by the Hecker family, in 1947, the mansion was sold to Paul Smiley of the Smiley Brothers Music Company, who used it for musical instruction and practice, as well as a sales office. During this time, both the Detroit Chamber Music Workshop and Womens Symphony started on the premises, when Smiley died in 1990, the building was sold to Charfoos & Christensen, P. C. The firm rehabilitated the mansion, and it served as their law offices until 2014, the mansion has also served as the Royal Danish Consulate in Detroit. In September 2014, Wayne State University purchased the house for $2.3 million, the university intends to have its Alumni Relations Department staff there and use the building for alumni-related activities

Col. Frank J. Hecker House
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Col. Frank J. Hecker House
Col. Frank J. Hecker House
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Carriage house of the Hecker House. The structure on the right is the carriage house of the Freer House next door.
Col. Frank J. Hecker House
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Downtown

101.
Hudson-Evans House
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The Hudson–Evans House is a private, single-family home located at 79 Alfred Street in Midtown Detroit, Michigan, within the Brush Park district. It is also known as the Joseph Lothian Hudson House or the Grace Whitney Evans House, the house was designated a Michigan State Historic Site in 1973 and listed on the National Register of Historic Places in 1975. The Hudson–Evans House was built circa 1872/73 for Philo Wright, a Detroit-based ship owner, between 1894 and 1904 Mrs. Evans rented the house to Joseph Lowthian Hudson, founder of Detroit’s J. L. Hudson Company department store. The structure is now used for the law offices of VanOverbeke, Michaud, & Timmony, the Hudson–Evans House is a three-story house built of red brick on a rough-cut stone foundation, designed in a French Second Empire architectural style with Italianate influences. The floor-plan is basically rectangular, but the elaborate two-story bay windows that grace both sides of the minimize the severity of the design. Arched moldings top the windows in the home, and the roof includes colored slate laid in a decorative pattern. The porch on the home was added after the original construction. VanOverbeke, Michaud, & Timmony, P. C

Hudson-Evans House
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Hudson-Evans House
Hudson-Evans House
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City

102.
Mulford T. Hunter House
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Hunter House is a private residence located at 77 West Hancock Street in Midtown Detroit, Michigan. It was listed on the National Register of Historic Places in 1994, mulford Hunter was a captain of Great Lakes steamships, earning enough to become wealthy. In 1891, he purchased George W. Loomer House, and also acquired what was then an empty lot next door, in 1893, he commissioned architect William P. Langley to design this home, and moved in the next year. Hunter lived there with his daughter, his son-in-law and his grandchild, the ownership of both the Hunter House and the Loomer House passed from Hunter to his daughter, and then to his granddaughter Carolyn S. McGraw. In 1951, both houses were sold to Phila J. Draper and transformed into apartment buildings. They continued to be operated as apartments through at least the 1990s, although under different ownership, the owner in the 1990s was Edward Black. This structure is a Queen Anne townhouse, one of the few remaining examples in the city of Detroit, the basement is built from large stones, elevating the red brick structure well off the ground. The front façade is asymmetric, with a bay window on one side. The porch features Ionic columns atop raised pedestals, and the front door has an elliptical fanlight framed by a Syrian arch, above the porch is an oval window, surrounded by decorative brickwork, other second story windows have similar decoration. Two dormers with leaded windows surmount the façade, the house is directly adjacent to the George W. Loomer House, the two are the only remaining buildings from the 19th century in what was at the time one of Detroits most fashionable areas. Hill, Eric J. and John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture

103.
Inn at 97 Winder (Detroit, Michigan)
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The Inn at 97 Winder is a luxurious historic Inn located at 97 Winder Street in Midtown Detroit, Michigan, within the Brush Park district. Originally known as the John Harvey House, it was listed on the National Register of Historic Places in 1991, the bed and breakfast Inn is two blocks from Comerica Park and three blocks from Ford Field. Harvey established Detroits Industrial School and later the Sabbath Mission School to educate indigent children, John Harvey died in 1905, but his widow lived in the house into the 1920s. In the 1920s, Jesse Hobbs, a worker, purchased the home. In 1938, the structure was converted into a rooming house, John Harvey employed John V. Smith to design this house with its Second Empire, Queen Anne architecture, located in the prestigious Brush Park neighborhood. Originally completed in 1887, the John Harvey House is constructed of red brick atop a foundation with a mansard roof. The façade features an entrance and wooden brackets supporting the sills of the multi-storied towers. The house has 11,000 square feet, eight marble fireplaces, developers purchased the John Harvey House in 1986, renovated the structure, and, in 2005, opened it as the historic Inn at 97 Winder with 10-room guest rooms

104.
Thomas S. Sprague House
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The Thomas S. Sprague House was a private residence located at 80 West Palmer Avenue in Midtown Detroit, Michigan. It was listed on the National Register of Historic Places in 1986, william Scott & Company constructed this house for Thomas S. Sprague, a Detroit real estate developer. Sprague himself lived in the house from 1884 to 1901, when Detroit Evening News editorial writer Arthur D. Welton moved into the house, Arthur Patriache, a manager for the Pere Marquette Railroad, lived in the house from 1905 to 1916. Restauranteur Michael Guarnieri purchased the house in 1916, and it remained in the Guarnieri family possession until 1977, the house was demolished in 1994. The Thomas S. Sprague House was a 2-1/2 story Queen Anne / Shingle style house, the front facade had a variety of projecting and receding elements, and a variety of surface treatments, creating an asymmetric composition with rich texture. A one-story hipped roof covered the center entrance, and wrapped around a corner octagonal turret. To the side of the entrance was a triple window surmounted with stained glass, double hung first floor windows in the turret were also topped by arched stained glass sections. The turret was topped with a gable which made the structure into a bay window, another bay window was set into the opposite side of the facade. The interior of the house was maintained in original form for almost 100 years. The intoerior contained combination gas-electric chandeliers, stained windows, patterned hearth tiles. A unique asymmetrical butternut fireplace with mantelpiece was in the parlor

Thomas S. Sprague House
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Thomas S. Sprague House

105.
Herman Strasburg House
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The Herman Strasburg House is located at 5415 Cass Avenue in Midtown Detroit, Michigan. It is now known as the Wayne State University Music Annex, the building was listed on the National Register of Historic Places in 1986. Herman Strasburg, Sr. established was one of the dance teachers in Detroit in the 19th century. His son, Herman Strasburg Jr. was born in Detroit in 1860, after graduating from high school in 1876, he joined his fathers dancing school, and in 1883 became owner of the business after his fathers death. In 1914, Strasburg and his wife Ida purchased this lot on Cass, the following year, they hired architect Marcus R. Burrowes to design the house on Cass Avenue. This was shortly after Burrowes left the firm of Stratton-Baldwin, a leader in bringing Arts and Crafts style to Detroit, Herman Strasburg died in 1918, leaving his dance academy and house to his son Paul. The Strasburg family occupied the home until 1925, although it is not clear if the house was used as a residence or a dance studio. From 1925 to 1928, Harrison B. Anderson and Jean Campbell occupied the house, and from 1928 and 1931, Mary Fitzpatrick, in 1931, Bendetson Netzorg purchased the house, and lived there with his parents and sister. He also used the house for his school, living there until 1944. In 1949, Wayne State University bought the property, using it first as the Wayne University Choral Studio, the Herman Strasburg house is an asymmetrical, two-and-one-half-story house, and is one of the best examples of Tudor Revival architecture in Detroit containing Arts and Crafts elements. The first floor is clad in red brickwork, while the second floor is characteristically half-timbered. The roof is cross-gabled, with projecting half-timbered gable ends and a pendant decoration at the peak, most windows are double-hung, although there are some leaded casement windows on the first floor. The interior has been extensively renovated, however, the original oak woodwork, paneling, and cabinetry remains intact. The main staircase is carved, and the living room has a plastered barrel vault ceiling

Herman Strasburg House
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Herman Strasburg House
Herman Strasburg House
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City

106.
Belcrest Apartments (Detroit, Michigan)
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The Belcrest Apartments is an apartment building located at 5440 Cass Avenue in Midtown Detroit, Michigan. It was built in 1926 as the Belcrest Hotel, designated a Michigan State Historic Site in 1983 and it is significant as an early example of the apartment hotel development concept in Detroit, and a major early work of architect Charles N. Agree. The Belcrest Apartment Hotel was built in 1926 as a residential hotel, the building exemplified what was, at the time, a novel style of living arrangement, an apartment building that offered amenities normally associated with a hotel. Daily maid service and a restaurant on the premises set this apart from an apartment building. The building was developed by Jacob Singer and Max Hamburger, who hired Charles N, Agree as both architect and general contractor for the building. In 1929, Singer and Hamburger signed an agreement to make the Belcrest a part of the Albert Pick hotel chain, the Belcrest is a twelve story, T-shaped apartment building, constructed of concrete and steel and sheathed with brick and terra cotta. Three projecting bays surround the base of the T, emphasizing the vertical, the three bays have elaborate detail on the twelfth floor, containing alternating bands of brick and terra cotta, round-arched masonry window openings, and terra cotta diaperwork. Terra cotta cornices on the third, eleventh, and top floors emphasize the horizontal, the grey and cream second-floor cornice is further embellished with dentils, rope molding, and acanthus leaf molding. The tan and dark brown eleventh-floor corniceline has green highlights, the tan twelfth floor cornice is molded into the form of a series of arches and acanthus leaf brackets, topped with an acanthus leaf molding. A gabled single story entry foyer echoes the form of the twelfth floor gables, the entryway is reached through original wrought iron entry gates

107.
Edwin S. George Building
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The Edwin S. George Building, built in 1908, is located at 4612 Woodward Avenue in Midtown Detroit, Michigan, at the corner of Woodward and Garfield. In 1914, the name was changed to the Garfield Building and it was listed on the National Register of Historic Places in 1993. Edwin S. George was an important businessman in Detroit at the turn of the 20th century and he first came to Detroit in 1890 and worked as a furrier, opening his own wholesale and retail fur company in 1897. He became involved in Detroits automobile industry and was an important developer of the stretch of Woodward between Grand Circus Park and Warren Avenue, in 1908, George hired architect Albert Kahn to design a two-story building which would include rental space for auto parts suppliers and manufacturers. This building opened as the Edwin S. George Building, in 1914, George had three additional floors added to the building and changed the name to the Garfield building. George owned the building until 1942, when he sold it to a real estate investment firm, wayne County Community College used the Garfield Building in the 1970s. The building was converted to condominiums in 2000, and became known as the Lofts at Garfield, the original Edwin S. George Building was a two-story square building with a flat roof, with a white glazed terra cotta facade. Embellishments were added to make the building attractive, the additional three floors added in 1914 are architecturally consistent with the lower floors. Garfield Building from the City of Detroit Planning and Development Department, the Lofts at Garfield from Model D

Edwin S. George Building
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Edwin S. George Building

108.
Lancaster and Waumbek Apartments
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The Lancaster and Waumbek Apartments were small apartment buildings respectively located at 227-29 and 237-39 East Palmer Avenue in Detroit, Michigan. The apartments were listed on the National Register of Historic Places in 1997 and they were demolished in November 2005. The two structures were well-designed examples of apartment houses in Detroit. They were designed by the prolific Almon Clother Varney, an architect of apartment buildings in early 20th century Detroit. These two buildings were owned by one of Michigans first suffragists, Sarah A. Sampson. The subdivision where these buildings stood was platted in 1878 by Joseph B. H, Bratshaw. in 1882, Bratshaw transferred the property to his daughter Sarah A. Sampson and Susan M. Swales. The land was re-platted in 1888, and in 1903 Swales transferred her interest in the property to Sampson, Sarah A. Sampson was prominent suffragist, and active in politics in Detroit. She was married to George L. Sampson, a merchant, in 1901, Sampson hired Almon Clother Varney to design an apartment building, Varney took out a building permit for the lot where the Waumbek eventually stood. It is likely that both the Lancaster and Waumbek were constructed according to Varneys plans, but probably a few years later in 1904. The apartments were named for Lancaster, New Hampshire, where George L. Sampson was born, early residents of the Lancaster and Waumbek Apartments included families with some social status, including the Sampsons themselves, who lived in the Lancaster from 1906 until 1919. In 1919, Mrs. Sampson sold the Lancaster and Waumbek Apartments to Robert B, the Weaver family owned the apartments until 1961. The two buildings were abandoned as of the mid-1990s, and were demolished in November 2005, the Lancaster and Waumbek Apartments were two small three-story red brick Tudor Revival apartment buildings of similar design located side-by-side on East Palmer. Each building was constructed of brick trimmed with stone, and designed in a Tudor Revival style, the façades featured projecting bays with a small light well in the middle. Both buildings measured approximately thirty-six feet wide by seventy feet deep, the buildings were symmetrical, with a three-story monumental portico in the center of each, supported by brick piers rising two stories, and smaller brick piers on the third story level. The arched entrance was at the first floor of the portico, detailing around the entrance archways differed betwee nthe two buildings, with the Lancaster entrance surrounded by cut-stone quoins, while the Waumbek had a label molding beneath the nameplate. Flanking the central entrance were three story, three-sided bays trimmed with limestone, containing three double-hung sash windows per floor, at the top, the bays culminated in a parapet wall, with the two buildings having slightly different detailing on the parapet. On the interior, each of the two buildings were similar, with oak stair halls lined with paneled wainscoting. Each floor was divided into two apartments of similar layout, one on side of the hall

Lancaster and Waumbek Apartments
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Lancaster and Waumbek Apartments

109.
League of Catholic Women Building
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The League of Catholic Women Building is located at 100 Parsons Street in Midtown Detroit, Michigan. It is also known as Casgrain Hall or the Activities Building, the building was listed on the National Register of Historic Places in 1997. In 1911, the club was renamed the Catholic Settlement Association, as immigration was curtailed in the 1920s, the League shifted focus to assisting single young women who were seeking employment in the city. When this building was constructed, the League spent over $1,000,000, the League named the building Casgrain Hall in honor of the Leagues founder, Anastasia Casgrain. The building originally provided accommodations for 250 women and these women were between the ages of 18 and 30 and earned less than $150 per month. The building also housed the League’s offices, and included a cafeteria, a chapel, library, ballroom, auditorium, over time, the aims of the League changed, as they opened community centers and neighborhood services. In the 1960s, the League began providing housing to women attending Wayne State Universitys School of Nursing, in 1972, the League repaired and improved the building. In 1982, the building was converted into 82 apartment units for low-income elderly and/or handicapped with Section 8 rent subsidies, in 1994, the organization officially changed its name from the League of Catholic Women to Metro Matrix Human Services. The League of Catholic Women continued as a division of Metro Matrix, and the organization continues to operate from the building

League of Catholic Women Building
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League of Catholic Women Building

110.
Milner Arms Apartments
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It is adjacent to, but not part of, the Cass-Davenport Historic District. Early in the 20th century, Charles Hugh Stevenson, his brother, Stevenson was a writer and lawyer and was internationally recognized for work in the hotel industry. In 1913, the Davenport Realty Company built the Hotel Stevenson, the hotel architect was Joseph P. Jogerst. The structure was designed as an apartment hotel, offering primarily efficiency and one bedroom units, the building was sold to the Milner Hotel Chain, which changed its name to the Milner Arms. In 2016, the building was sold to Broder & Sachse Real Estate Services and it is still in operation as an apartment building. The Milner Arms is an eight story rectangular Georgian Revival steel frame apartment building clad with brick, the facade is symmetric, with the exception of the first floor. The first floor contains five arched openings with masonry quoins, the second is the entrance, a projecting cornice with brackets separates the first floor from the upper stories. Floors two through seven have double hung single pane windows. There is a belt course between floors six and seven, and the windows on the seventh floor have continuous sills. A heavy cornice separates the seventh and eighth floors, the eighth floor windows are arched, and a balustrade above caps the facade. The Milner Arms contains a total of 93 apartments, sixty-eight are studio apartments, ranging from 250 to 600 square feet. Twenty-two are one-bedroom units of about 800 square feet, and the three are two-bedroom units of about 1,020 square feet

Milner Arms Apartments
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Milner Arms Apartments (Hotel Stevenson)

111.
The Park Shelton
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The Park Shelton is a historic condominium building located at 15 East Kirby Street in Midtown Detroit, Michigan. It was built in 1926 as a hotel, The Wardell, the Wardell was designed by Detroit architects Weston and Ellington and built by Bryant and Detwiler in 1926 as a residential hotel, intended for extended stays. Architectural sculpture for the building was created by Corrado Parducci, the name comes from Fred Wardell, who owned the Eureka Vacuum Cleaner Company. Diego Rivera and his wife, Frida Kahlo, lived there working on his mural at the Detroit Institute of Arts. The Wardell was bought by Sheraton in the 1940s and became the Wardell-Sheraton and it was finally renamed The Park Shelton Hotel in the 1950s, offering luxurious accommodations, but set up as a more traditional hotel. It was the Detroit hotel of choice for such celebrities as Bob Hope, George Burns, Gracie Allen, in the 1970s, the Park Shelton Hotel was converted to apartments. In 2004, the Park Shelton was redeveloped into condominiums, creating 227 luxury units in the building, the newly refurbished building was opened in August 2004

The Park Shelton
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The Wardell

112.
Santa Fe Apartments
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The Santa Fe Apartments were an apartment building located at 681 Merrick Street in Detroit, Michigan. The building was listed on the National Register of Historic Places in 1986 and subsequently demolished by Wayne State University, the Santa Fe was built in 1925 for $95,000. The building was a example of Mission and Spanish Revival, this style was used frequently for homes and religious buildings. The building was designed by architects F. William Wiedmaier and John B, gay, and built by Harry Dunitz. The apartment building was purchased by Wayne State University in the 1950s, the Santa Fe Apartments were a five-story apartment building, measuring 45 feet by 122 feet, built of brick, tile, and grey stone, with plentiful architectural details on the front façade. It had a flat roof, but with a prominent gable at the front. Vertical elements on the façade were created by rectangular columns and tall, the exterior also featured dentil moldings, a broken scroll pediment above the second level, and decorative railings. The sides were quoined and decorative brick and tile work graced the chimneys, the entryway was flanked on each side by a spiral column with classical type carvings just below the capital. Both Mission and Spanish Revival architecture usually receive a stucco treatment, however, the Santa Fe Apartments were faced with grey stone tiles with thin mortar joints in between. The roof was formed with a distinctive Mission style parapet, and the gable roof at the front was covered with red barrel tiles

Santa Fe Apartments
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Santa Fe Apartments

113.
Verona Apartments (Detroit, Michigan)
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The Verona Apartments is an apartment building located in Midtown Detroit, Michigan. The central section is located at 96 W. Ferry, the East and West wings are located at 92 W. Ferry and 100 W. Ferry, respectively. It was listed on the National Register of Historic Places in 1986, the Verona Apartments are now owned and leased by Cass and Ferry Apartments. The Verona Apartments were built in 1896 by the Detroit firm of Malcomson, the original layout of the apartment building had 16 luxury suites. When home ownership became easier in the 1930s, demand for this type of suite apartment declined, the Verona Apartments consist of a five-story central section with flanking three-story wings. The base of the structure is stone, the body is built of brick, originally orange. The entryway is arched, echoing the arch on the floor. Jeff Samoray, Joni doesnt live anymore, The Detroit News

Verona Apartments (Detroit, Michigan)
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Verona Apartments

114.
Cass Avenue Methodist Episcopal Church
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The Cass Community United Methodist Church is located at 3901 Cass Avenue in Midtown Detroit, Michigan. It was built in 1883 as the Cass Avenue Methodist Episcopal Church, listed on the National Register of Historic Places in 1982, the Cass Avenue Methodist Episcopal Church was founded in 1880. In 1883, the congregation hired architectural firm Mason & Rice to design a church at the corner of Cass, in 1891, Malcomson and Higginbotham designed an addition on the eastern side, which is now the main portion of the church. Early in the life of the church, the congregation was well-to-do, in the 1920s, however, the membership declined as congregants moved from the area and the character of the neighborhood changed. However, the decided to remain in the neighborhood and minister to. The church is operating as a United Methodist congregation, with services that change to meet the needs of the neighborhood. The church is a Richardsonian Romanesque structure, constructed in the form of a Greek Cross, the church is built from rock faced Grafton stone, trimmed with Ionia sandstone. At the corner is a tower,86 feet high. On the interior, Tiffany grace the windows, a Johnson - Tracker church organ is installed, a state of Michigan historical maker marks this church. Cass Community Social Services Cass Community Social Services

115.
Chapel of St. Theresa-the Little Flower
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The Chapel of St. Theresa–the Little Flower is a church located at 58 Parsons Street in Midtown Detroit, Michigan. It is currently known as St. Patrick Church, the building was listed on the National Register of Historic Places in 1997. St. Patrick Parish began in 1862 in response to the influx of Irish Catholics into Detroit, the parish built a chapel on Adelaide near John R. Street, which was eventually expanded into a church. St. Patricks became one of Detroit’s largest and wealthiest parishes, in 1890, the church was named the cathedral of the diocese and was renamed in honor of Sts. Peter and Paul as the cathedral church on East Jefferson had been. Bishop Caspar Borgess gave the old Sts, peter and Paul to the Jesuits in 1877 after he moved to the new cathedral. In 1892, to serve the children of the community, the Sts, peter and Paul Academy was built on Parsons west of Woodward, which was some distance away from the main church. By the 1920s the streets in the area had become so busy that the trek from church to school was considered unsafe for children going to school Masses. As a remedy, the parish constructed the Chapel of St. Theresa, in 1938, the cathedral function was transferred to Blessed Sacrament parish and St. Patricks reverted to its original name. As the years passed, the area around the original St. Patrick church steadily declined, all activities were moved to Parsons Street in the 1980s and the old church was given to a community group. Essentially abandoned for a number of years, it was then vandalized, due to declining membership, Archbishop Allen Vigneron announced May 8,2015, that the parish would dissolve May 25. The archdiocese said it will retain the structure in the hope that the parish can be reactivated at a date due to revitalization of the area. The chapel is in the Romanesque Revival style with a basilica floorplan and it is constructed of red brick with limestone accents and a red tile roof. The entrance is recessed in twin arches framed by square bays, the bays are each topped by a limestone portico consisting of a barrel vault supported by four Corinthian columns. The gabled roofs of the porticoes are covered with red tile matching the other portions of the roof, above the entry doors on the clerestory level are small arched windows and above the clerestory is a small rose window. Above the porticos are two small campanario each holding a bell, make Straight the Path, A300 Year Pilgrimage Archdiocese of Detroit. Tentler, Leslie Woodcock with forward by Edmund Cardinal Szoka, seasons of Grace, A History of the Catholic Archdiocese of Detroit. Tutag, Nola Huse with Lucy Hamilton, closed Parish List, Archdiocese of Detroit

116.
First Presbyterian Church (Detroit, Michigan)
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The former First Presbyterian Church, now the Ecumenical Theological Seminary, is located at 2930 Woodward Avenue in Midtown Detroit, Michigan. It was built in 1889 as the First Presbyterian Church, the building, listed on the National Register of Historic Places, is a designated Michigan State Historic Site, and a contributing property to the Brush Park Historic District. George D. Mason and Zachariah Rice modeled the First Presbyterian Church after Henry Hobson Richardsons Trinity Church in Boston, the church, in the Richardsonian Romanesque style, is made from rough-cut red sandstone, with the floorplan in the shape of a Greek cross. Masonry arches support a red sandstone tower with a slate roof, the stained glass windows of the church are exceptional, with many of Tiffany glass. When Woodward was widened in 1936, the entrance porch was moved from the Woodward façade to the Edmund Place side. A State of Michigan historical marker was placed at the site on August 26,1980, the building is currently used as the Ecumenical Theological Seminary. The Seminary was founded in 1980

First Presbyterian Church (Detroit, Michigan)
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First Presbyterian Church
First Presbyterian Church (Detroit, Michigan)
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First Presbyterian Church, c. 1899
First Presbyterian Church (Detroit, Michigan)
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First Presbyterian Church, c. 1906
First Presbyterian Church (Detroit, Michigan)
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The church in 2004. Notice the massive rearrangement of the Woodward façade

117.
First Unitarian Church of Detroit
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The First Unitarian Church of Detroit was located at 2870 Woodward Avenue in Midtown Detroit, Michigan. Built between 1889 and 1890, it was listed on the National Register of Historic Places in 1982 and it was destroyed by fire on May 10,2014. The First Congregational Unitarian Society was incorporated on October 6,1850 and this church, their second, was dedicated in November 1890. The congregation used the church until 1931, when the widening of Woodward Avenue required a remodeling of the church, at that time, they worshiped with the First Universalist Church of Our Father, whose sanctuary on Cass Avenue had been built in 1916. This arrangement worked out so well that the two merged in 1934 to form the Church of Our Father, which later became the First Unitarian Universalist Church of Detroit. The First Unitarian building was sold in 1937 to the Church of Christ denomination. The building went through other owners before finally being abandoned during the 2000s and it sat empty and in poor condition until destroyed by fire in 2014. Designed by the firm of Donaldson and Meier, the First Unitarian Church of Detroit was a Romanesque Revival-style church built of red sandstone. After its remodeling during the 1936 widening of Woodward, it remained substantially as built, the gabled façade had a great expanse of masonry, a simple four-bay porch with a shed roof and stone Romanesque columns spanning the first floor. There was a two-story hip-roofed projection at the corner, and a porch with stone piers covering a side entrance. The original John La Farge stained glass windows that faced Woodward Avenue survive in the collection of the Detroit Institute of Arts, arson Questions Detroit Blog, Pictures of the First Unitarian Church of Detroit Detroiturbex. com, Photo gallery and history

118.
Bonstelle Theatre
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The Bonstelle Theatre is a theater operated by Wayne State University, and located at 3424 Woodward Avenue in the Midtown Woodward Historic District of Detroit, Michigan. It was originally built in 1902 as the Temple Beth-El, and was listed on the National Register of Historic Places in 1982, when Rabbi Leo M. Accordingly, in October 1900, the congregation held a special meeting at which it was decided to build a new temple. A site for the new temple was purchased in April of the year, and Albert Kahn. Groundbreaking began on November 25,1901, with the cornerstone laid on April 23,1902. The first services were held in the chapel on January 24,1903, the temple is a Beaux-Arts structure influenced primarily by Roman and Greek temples. Sobocinski cites the Pantheon in Rome for comparison, there is a prominent dome over the main area of the temple, with gabled wings on the north and south. A pedimented extension on the front once extended into a porch, when the Temple Beth El congregation built another building farther north along Woodward in 1922, they sold the building at Woodward and Eliot to Jessie Bonstelle for $500,000. Bonstelle hired architect C. Howard Crane to convert the building into a theater, in 1928, the Bonstelle Playhouse became the Detroit Civic Theatre, and in the 1930s became the Mayfair Motion Picture Theater. In 1951, Wayne State University rented the building as a space for its theater company. History of the Jews in Metro Detroit Hill, Eric J. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Detroit and Rome, building on the past, regents of the University of Michigan. Bonstelle Theatre - Wayne State University Photographs from the Rabbi Leo M. Franklin archives, these include photographs c.1903 -1922 of both the interior and exterior of the structure

Bonstelle Theatre
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Temple Beth-El
Bonstelle Theatre
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Temple Beth El, c. 1905
Bonstelle Theatre
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Jessie Bonstelle in 1908
Bonstelle Theatre
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Side view of the theater, with the name still showing on the back house brick

119.
Graybar Electric Company Building
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The Graybar Electric Company Building is located at 55 West Canfield Street in Midtown Detroit, Michigan. This warehouse building was rented to the Graybar Electric Company from 1926 into the 1940s and it was listed on the National Register of Historic Places in 1997. The Graybar Electric Company was founded in 1869 in Cleveland, Ohio to sell equipment to the public. The company was successful and soon Anson Stager, General Superintendent of the Western Union Telegraph Company bought in. In 1872 the business was incorporated as the Western Electric Manufacturing Company, by 1926, Western Electric was so enormous that it spun off a separate entity specifically to handle the distribution of electrical supplies and equipment. This new entity was named Graybar, echoing the companys original 1869 name, the new company was immediately the countrys leading wholesaler of electrical supplies and equipment, with 59 distributing houses across the US. This building in Detroit was constructed in 1926 by C. F, haglin & Sons for the Graybar Electric Company. Haglin leased the building to Graybar, who occupied the well into the 1940s. The building later was used by the Detroit Board of Education as their Audio-Visual Department, in 200, the building was converted into loft space. The Graybar Electric Company Building is a three story, brick and concrete, industrial building, originally constructed to house offices. The brick front facade is symmetrical, divided into bays by piers which rise from a stone string course between the first and second stories. The piers terminate in a parapet, with both parapet and pier tops made from cast stone. The entrance is off center, with door openings to one side. Windows on the floors are grouped between the piers, with three windows per bay on the inner bays and two windows per bay on the outer bays. Above each outer bay is a cast stone panel bearing a shield

Graybar Electric Company Building
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Graybar Electric Company Building

120.
Russell Industrial Center
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The Russell Industrial Center is a complex of studios and shops is located at 1600 Clay Avenue in Milwaukee Junction Detroit, Michigan. The Russell Industrial Center is a 2,200, 000-square-foot, seven building complex, the Russell Industrial Center, sometimes abbreviated as R. I. C. It contains studios and lofts and serves as a center for commercial. In 1925, Murray completed the factory to accommodate its growing manufacturing business. In an effort to stay afloat economically, Murray formed various mergers to expand his production, a series of difficulties led previous owners of the Russell to close. The factory has become another of Detroits renovated buildings, in 2003, Dennis Kefallinos purchased the building and converted it into more than one million square feet of studio space and lofts for various artists, creative professionals, and businesses. The Russell Industrial Center works with non profits, local colleges, Kefallinos is owner to several Detroit businesses, such as Nikkis Pizza in Greektown. John William Murray, born 1862, in Ann Arbor, Michigan, was known for his company, in 1913, he formed the J. W. Murray Mfg. Co. and supplied sheet metal parts for the automobile factories in the Detroit area. The first plant was located in Detroit, at 1975 Clay Street, Murray Manufacturing began manufacturing automobile bodies, stamped fenders, hoods, cowls and frames. The growing demands from customers, such as the Dodge brothers, Ford Lincoln, Crosley, Willys, Hudson, Hupmobile, King and Studebaker, in 1915, Murray hired architect Albert Kahn, to design a larger industrial center to meet the demands of Detroits growing automotive industry. Kahn was one of Detroits foremost industrial architects, known for his large concrete-reinforced automobile factories and his design was strong, fireproof, inexpensive to construct, and opened up by eliminating heavy obstructive columns. Another characteristic was providing an amount of windows and gaslight to give factory workers an ample amount of natural light. Murrays company began having problems during the economic recession in 1924-1925. During that time he formed a merger with C. R. Wilson Body Co. one of Henry Fords major suppliers, next the stock market crash of October 1929, and the Great Depression negatively affected the automobile industry. The Ford plant eventually had to shut down and the Murray Corporation continued to struggle until 1934, when the war came to an end, expressways opened up the city of Detroit to the surrounding suburbs. This led to suburbanization, and another recession for Murray and he continued manufacturing automotive parts for a short time, but eventually had to close operations. In 1960, Murray began leasing out space to printing companies and change the name of his company to the Michigan Stamping Plant, another owner the Russell Industrial Center was Leona Helmsley, who purchased the complex in 1970 and sold it in 1991, to printer, Wintor-Swan. In 1998, the Russell was damaged by a tornado and storm that flooded and destroyed the buildings transformer, the Swan Company experienced financial difficulties and could not afford to stay in business

121.
Dunbar Hospital
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The Dunbar Hospital was the first hospital for the black community in Detroit, Michigan. It is located at 580 Frederick Street, and is currently the headquarters of the Detroit Medical Society. It was listed on the National Register of Historic Places in 1979, the building housing the Dunbar Hospital was built in 1892 by the Guy W. Vinton Company as a home for real estate developer Charles W. Warren. The home was constructed in a fashionable 19th century residential district, the structure is a three-story home of mixed Romanesque Revival and Queen Anne style, built of red brick and rough-cut ashlar. The entrance is through a recessed, arched porch and the second story has a double-arch brick balcony. The roof is slate, with a gabled dormer surmounting the front façade. In 1894, Dr. James W. Ames, a graduate of both Straight University and Howard University, arrived in Detroit after a stint of teaching in New Orleans and he quickly became influential in both Detroits white community and its then-small black community. Detroits mayor at the time was Hazen Pingree, during his subsequent re-election campaign, Pingree actively courted the black vote, in part by supporting Amess bid for election to the Michigan state legislature. Both Ames and Pingree won their elections, and Ames spent the next two years in the legislature. He was the last black elected until the 1920s, two decades later, in the years following World War I, the black population of Detroit soared. In 1910, fewer than 6000 blacks called the city home, the increase in black residents led to a crisis in health care. Hospitals were still segregated, and physicians like Ames were required to ask permission to admit black patients, often black patients were simply denied care. The increase in the black population threatened to overwhelm the citys 30 black doctors, in 1918, Ames led the group of 30 black physicians too form the Allied Medical Society. The hospital was named for the poet Dunbar, who had died in 1906, the hospital had 27 beds and an operating room. In 1928, demand led Dunbar Hospital to move from its first home to a larger facility several blocks to the east, the facility was renamed Parkside Hospital, and continued in operation until 1962. Soon after Dunbar moved from its home on Frederick, Charles C, diggs, who was later the first African-American Democratic state senator, purchased the home. Diggs Jr. served in the Michigan State Senate from 1951 to 1954, in 1978, the Detroit Medical Society purchased and restored the building. It now serves as their headquarters and a museum

Dunbar Hospital
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Dunbar Hospital
Dunbar Hospital
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City

122.
Majestic Theater (Detroit, Michigan)
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The Majestic Theatre is a theatre located at 4126-4140 Woodward Avenue in Midtown Detroit, Michigan. It was listed on the National Register of Historic Places in 2008, today, the theatre is mainly a music venue. It hosts a variety of concerts in three separate areas of the building, The Majestic, The Majestic Cafe, and The Magic Stick. The Majestic Theatre, designed by C. Howard Crane, opened on April 1,1915, the theatre originally seated 1,651 people, and the facade was designed in an arcaded Italian style. In 1934, the front 35 feet of the theatre were removed when Woodward Avenue was widened to its present size, the entire facade was redesigned into its current striking Art Deco motif by the firm of Bennett & Straight. The theater now boasts the largest enameled metal panel Art Deco facade in the Detroit metropolitan region, the theatre eventually closed, and the building was used as a church for a time, and later as a photographic studio. It lay vacant for ten years, the present owner purchased the building in 1984. There is a myth that legendary magician Harry Houdini gave his last performance on stage here, in fact, Houdini last performed at the Garrick Theatre in Detroit and died a few days later of peritonitis at Detroits Grace Hospital on October 31,1926. The Majestic Theatre operates as part of the Majestic Theatre Center, which includes the nearby Garden Bowl, The Majestic Cafe, The Magic Stick, the Majestic houses live music acts, a bar, and you can also bowl

123.
Garden Bowl
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The Garden Bowl is a bowling alley located at 4104-4120 Woodward Avenue in Midtown Detroit, Michigan. It is the oldest continuously operating bowling alley in the country and it was listed on the National Register of Historic Places in 2008. The Garden Bowl was built in 1913, and is Detroits oldest continuously operating bowling alley, in 1934, the front 35 feet of the building were removed when Woodward Avenue was widened to its present size. The present appearance of the building is due in part to changes made in 1966. The father of the current owner purchased the Garden Bowl in 1946, the Garden Bowl operates as part of the Majestic Theater Center, which includes the nearby Majestic Theatre, the Majestic Cafe, Populux, and Sgt. It continues to operate as a bowling alley

Garden Bowl
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Garden Bowl

124.
Orchestra Hall (Detroit, Michigan)
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Orchestra Hall is an elaborate concert hall in the United States, located at 3711 Woodward Avenue in Midtown Detroit, Michigan. The hall is renowned for its acoustic properties and serves as the home of the internationally known Detroit Symphony Orchestra. With the creation of an auditorium for jazz and chamber music in 2003. It was listed on the National Register of Historic Places in 1971, the Detroit Symphony Orchestra had previously played at the old Detroit Opera House. However, Ossip Gabrilowitsch demanded that the DSO build a suitable auditorium before he assumed his position as music director, construction on Orchestra Hall began on June 6,1919, and was completed in barely six months. The 2, 014-seat hall was designed by the theater architect. The first concert took place on October 23,1919 and the remained the home of the Detroit Symphony Orchestra until 1939. Due to the difficulties of the Great Depression, the orchestra was compelled to leave Orchestra Hall. Orchestra Hall was vacant for two years until it was purchased by new owners, for ten years Orchestra Hall presented jazz artists under the name Paradise Theater, opening on Christmas Eve 1941. The Paradise hosted the most renowned musicians, including Ella Fitzgerald, Billie Holiday, Count Basie. The Paradise closed in 1951 and now Orchestra Hall sat vacant for twenty years until it became the object of a renovation plan in the late 1960s. Paul Ganson, the assistant principal bassoonist of the DSO, spearheaded a movement to rediscover the hall, renovation work started in 1970 and continued for about two decades, costing roughly $6.8 million. The original building required extensive renovations including, a new stage, all new seating, plaster and lath work, all of the restoration work was completed with the goal of maintaining the fine acoustic properties that the hall was historically known for. The hall was added to the National Register of Historic Places in 1971, the DSO moved back into Orchestra Hall in 1989. Additional work on the hall was done in the months of 2002 and 2003 as part of the creation of the new Max M. Fisher Music Center, or the MAX. The mayor of Detroit delivers the annual State of the City address at Orchestra Hall, list of concert halls Hauser, Michael & Marianne Weldon. Hill, Eric J. & John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Media related to Detroit Orchestra Hall at Wikimedia Commons Detroit Symphony Orchestra official website

125.
One Detroit Center
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Ally Detroit Center is a skyscraper and class-A office building located downtown which overlooks the Detroit Financial District. Although the Penobscot Building has more floors, Ally Detroit Centers floors are taller and its floor area is 1,674,708 sq ft. The building was designed by noted architects John Burgee & Philip Johnson, Ally Detroit Center was constructed from 1991 to 1993. It houses numerous tenants, including many prominent Detroit law firms, in addition to retail, the building also contains a restaurant and a gym. The building is famous for its architectural design topped with Flemish-inspired neo-gothic spires which blend architecturally with the citys historic skyline. It is constructed mainly of granite, sometimes called a twin gothic structure, for its pairs of spires, it is oriented North-South and East-West. Ally Detroit Center won an Award of Excellence for its design in 1996, Ally Detroit Center replicas have become a souvenir item along with those of other Detroit skyscrapers. Project plans for twin tower, Two Detroit Center proposed directly east of the tower were placed indefinitely on hold, Two Detroit Center parking garage was constructed on the site in 2002. The law firm Dickinson Wright has its headquarters in Ally Detroit Center, the company moved into the building when it opened in 1992. In 2007 the company had almost 100,000 square feet of space in the building and that year it renewed its lease. Additionally, the law firm of Clark Hill, PLC rents three floors in the building, the building has been occupied by Comerica Bank. In efforts to expand its U. S. presence, the bank has engaged in a succession of takeovers in Texas, Florida, Arizona, the banks lease on Comerica Tower at Detroit Center ran through 2012. Comerica is a sponsor of Comerica Park, the home of the Detroit Tigers baseball team. In December 2009, tenant Comerica announced it would vacate Ally Detroit Center by 2012, the tower was renamed Ally Detroit Center. Hill, Eric J. & John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert

126.
Penobscot Building
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The Greater Penobscot Building, commonly known as the Penobscot Building, is a Class-A office tower in Downtown Detroit, Michigan. The 1928 Art Deco building is located in the heart of the Detroit Financial District, the Penobscot is a hub for the citys wireless Internet zone and fiber-optic network. Upon completion, the Penobscot Building was the eighth-tallest building in the world, the fourth-tallest in America, rising 566 feet, the 47-story Penobscot was the tallest building in Michigan from its completion in 1928 until construction of the Renaissance Center hotel tower in 1977. One Detroit Center surpassed the Penobscot as the tallest office building in Detroit upon its completion in 1993, the Penobscot has 45 above-ground floors and two basement levels, for a total floor count of 47. Although the Penobscot Building has more floors than One Detroit Center, The floors and spires of One Detroit are taller, the building is named for the Penobscot, a Native American tribe from Maine. Native American motifs in art deco style ornamentation is used on the exterior, long before the Civil War days, Simon J. Rowland, of the prominent Smith Hinchman & Grylls firm based in Detroit, clad in Indiana Limestone with a granite base, it rises like a sheer cliff for thirty stories, then has a series of setbacks culminating in a red neon beacon tower. Like many of the citys other Roaring Twenties buildings, it displays Art Deco influences, including its H shape, the opulent Penobscot is one of many buildings in Detroit that features architectural sculpture by Corrado Parducci. The ornamentation includes American Indian motifs, particularly in the entrance archway, at night, the buildings upper floors are lit in floodlight fashion, topped with a red sphere. Rowland, also designed other Detroit skyscrapers, such as the Guardian Building, the tower is also connected to two older and smaller buildings, the 1905 Penobscot Building and the Penobscot Building Annex. Together, the buildings comprise the Penobscot Block, located at Griswold Street, the Greater Penobscot was the last portion of the complex to be developed. In addition, during the Christmas season, the Penobscot Buildings radio broadcast tower is illuminated bright gold, the Penobscot Building has become a souvenir item along with other Detroit skyscrapers. The first televisions in Michigan were sold in the space on the Griswold level of this building. For a period of time in the late 1970s and early 1980s, it was renamed the City National Bank Building, when City National was acquired by another bank and renamed, the historic Penobscot name was revived. The Penobscot Building is a property in the Detroit Financial Historic District. The Consulate of Mexico in Detroit is located in Suite 830, the Caucus Club, a restaurant known for hosting influential business officials, was located in Penobscot from 1952 until 2012. On October 4,2012, the restaurant announced that it would close by the end of that month, early in her career, Barbra Streisand appeared as one of the lounge singers at the Caucus Club in 1961. The tower apex once had CNB signs for a bank that was formerly headquartered in the Penobscot Building

Penobscot Building
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Penobscot Building
Penobscot Building
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Penobscot Building illuminated at night
Penobscot Building
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Penobscot Building in the city skyline
Penobscot Building
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Penobscot Building (left) and the Dime Building

127.
Guardian Building
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The Guardian Building is a landmark skyscraper in the United States, located at 500 Griswold Street in Downtown Detroit, Michigan, within the Financial District. The Guardian is an office building owned by Wayne County, Michigan. Built in 1928 and finished in 1929, the building was called the Union Trust Building and is a bold example of Art Deco architecture. At the top of the Guardian Buildings spire is a large American Flag, the building has undergone recent award-winning renovations. It was designated a National Historic Landmark on June 29,1989, the Guardian building includes retail and a tourist gift shop. The main frame of the skyscraper rises 36 stories, capped by two spires, one extending for four additional stories. The roof height of the building is 496 ft, the top floor is 489 feet, rowland, of the Smith, Hinchman & Grylls firm, was the buildings architect. The building rises from a granite and stone six story base with two Corrado Parducci created sculptures flanking the Griswold Street entrance, the exterior blends brickwork with tile, limestone, and terra cotta. Rowlands attention to detail was meticulous and he supervised the creation of the colored brick cladding to achieve the desired color for the exterior. Afterward, the brick was marketed by the manufacturer as Union Trust Brick and after 1939, rowland designed furniture for the banks offices and his attention went as far as designing tableware, linens and waitress uniforms for a restaurant in the building. The buildings three story, vaulted lobby is decorated with Pewabic and Rookwood tile. The semi-circular exterior domes are filled with Pewabic Pottery, Mary Chase Perry Stratton worked closely with the architect in the design of the symbolic decorations. A Monel metal screen divides the lobby from the hall on the second floor. The building includes works by muralist Ezra Winter in the mosaic above the lobby desk. The mural highlight’s Michigan’s industries such as manufacturing, farming and mining, in order to dampen the sound in the banking hall, its cement-plaster ceiling features a hand-painted canvas ceiling, which was stretched over a mat of horsehair. During World War II, the Guardian Building served as the U. S Army Command Center for war time production, the Guardian served various tenants as an office building in downtown Detroit. In 1982 it became the headquarters of Michigan Consolidated Gas Company subsequent to the divestiture of MichCon by ANR Company in 1981, under the leadership of President and COO Stephen E. Ewing, MichCon restored the lobby and vaulted ceilings on the first floor in 1986. It would stay MichCons later to be called MCN Energy Group headquarters until the merger of MCN with DTE Energy in 2001 and it was sold by DTE to a local real estate developer, the Sterling Group, in 2002

Guardian Building
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Guardian Building
Guardian Building
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The Guardian is nicknamed the Cathedral of Finance
Guardian Building
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The Guardian interior
Guardian Building
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An exterior dome of The Guardian Building

128.
Fisher Building
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The Fisher Building is a landmark skyscraper located at 3011 West Grand Boulevard in the heart of the New Center area of Detroit, Michigan. The ornate building, completed in 1928, is one of the works of architect Albert Kahn, and is designed in an Art Deco style, constructed of limestone, granite. The Fisher family financed the building with proceeds from the sale of Fisher Body to General Motors and it was designed to house office and retail space. The building, which contains the elaborate 2, 089-seat Fisher Theatre, was designated a National Historic Landmark on 29 June 1989 and it also houses the headquarters for the Detroit Public Schools. Initially, architect Joseph Nathaniel French of Albert Kahn Associates planned for a complex of three buildings, with two 30-story structures flanking a 60-story tower, however, the Great Depression kept the project at one tower. The Fisher brothers located the building across from the General Motors Building, now Cadillac Place, the two massive buildings spurred the development of a New Center for the city, a business district north of its downtown area. After the war, the asphalt could not be removed from the tiles without harming them. Since the 1980s, these tiles have been illuminated at night colored lights to give them a gold appearance. On St. Patricks Day, the lights are changed to green and, in recent years, to celebrate the NHL playoffs, in 1974, Tri-Star Development purchased the Fisher Building and adjoining New Center Building for approximately $20 million. In 2001, Farbman Group, a real estate based in Southfield. Farbman Group lost the buildings to its lender in 2015.2 million at auction, the multi-year project has a potential cost of $70 million to $80 million in addition to the purchase price. The Fisher Building rises 30 stories with a height of 428 feet, a top floor height of 339 feet. Albert Kahn and Associates designed the building with Joseph Nathaniel French serving as chief architect, French took inspiration from Eliel Saarinens Tribune Tower design of 1922, seen in the emphasis on verticality and the stepped-back upper stories. The building is any other Albert Kahn production. It has been called Detroits largest art object, in 1929, the Architectural League of New York honored the Fisher Building with a silver medal in architecture. The opulent three-story barrel vaulted lobby is constructed with forty different kinds of marble, decorated by Hungarian artist Géza Maróti, the sculpture on the exterior of the building was supplied by several sculptors including Maróti, Corrado Parducci, Anthony De Lorenzo and Ulysses Ricci. Designs called for two flagpoles atop the gilt roof, while they were installed, they were essentially unusable as a radio antenna was installed when one of the buildings oldest tenants, radio station WJR, leased space in December 1928. On-air hosts often mention that broadcasts originate from the tower of the Fisher Building

Fisher Building
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Fisher Building
Fisher Building
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Façade detail
Fisher Building
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Grand Boulevard Façade through the trees in early spring
Fisher Building
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Fisher Building, New Center One and Walkway from Cadillac Place

129.
Cadillac Tower
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The buildings materials include terra cotta and brick. It was built in 1927 as Barlum Tower, at the top of the tower is a tall guyed mast for local radio stations WMXD, WDTW-FM and television station WLPC-CD. It was listed on the National Register of Historic Places in 2005, cadillac Tower was the first building outside New York City and Chicago to have 40 floors, including two below ground. The building also houses the city of Detroits Planning and Development Department, cadillac Towers decorative cornices and parapets are of varying heights. The corner spires rise to a height of 130 m, from 1994 to 2000, one side of the building featured a 14-story mural of Detroit Lions star player Barry Sanders. The mural was retired after a deal with Nike expired. That mural was replaced with one of Detroit Red Wings star Steve Yzerman. Currently the building features an ad for the MGM Grand Detroit Casino featuring a lion, designed by architect Anthony Caradonna, the contemporary steel and glass 24-story center would have filled in the currently vacant Monroe Block adjacent to Campus Martius. This project was put on indefinite hold ultimately being replaced by Meridian Health Plans future headquarters, list of tallest buildings in Detroit Hill, Eric J. John Gallagher. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture, kvaran, Einar Einarsson, Architectural Sculpture of America, unpublished manuscript. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert

130.
DTE Energy Headquarters
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DTE Energy Headquarters is a class-A office complex at I-75 and Grand River on the west side of Downtown Detroit, Michigan. It consists of three buildings, Detroit Edison Plaza, DTE Energy Building, and the Detroit Edison Company Service Building, the Edison Plaza Building is the large, dark brown skyscraper in the complex. It is also referred to as the Walker Cisler Building, the lighted signs at the top of the building display DTE Energy. It was constructed in 1971, and contains 25 floors, reaching a height of 114 m and it is built in the International style of architecture. It is composed of steel, with glass windows. It bears a resemblance to the nearby Executive Plaza Building. In 2007, DTE announced a transformation of the area around its headquarters into landscaped areas with a reflecting pool. The General Office Building is located at 2000 Second Ave. between Elizabeth St. and Beech St and it was constructed in 1921 and stands at nine stories in height. The building, designed in the revival architectural style, is used primarily for offices. It is part of the DTE Energy Headquarters complex of buildings, the Service Building is a lowrise building that stands at 6 floors in height, and was completed in 1938. It stands on Third Ave. between Elizabeth St. and Beech St, a Town Square hall exists on the second floor of the eastern section of the Service Building and is used for company meetings and other events. All three buildings are connected by a walkway at the second floor level. The Service Building is also connected to the MGM Grand Casino Parking structure at the floor level via a covered walkway. DTE shares use of the structure along with casino guests. Walker Lee Cisler List of tallest buildings in Detroit Hill, Eric J. John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. Detroit Edison Synchroscope Magazine, January 1978 edition, DTE Energy Headquarters details on Emporis. com Detroit Edison Company Service Building details at Emporis. com SkyscraperPage. coms Profile on DTE Energy Building

131.
211 West Fort Street
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211 West Fort Street is a 27-story skyscraper in Downtown Detroit, Michigan. Construction began in 1961, and finished in 1963, the building stands at the southeast corner of Fort Street and Washington Boulevard. It was constructed adjacent to the Detroit Trust Company Building, designed by Albert Kahn in 1915, as offices for the Detroit Bank and Trust Company, the bank occupied space in the building until 1993, when it moved to One Detroit Center. In the courtyard between the two buildings is a based on the banks logo at the time. The building currently houses offices for the Detroit Economic Club, United States District Court for the Eastern District of Michigan, the building is designed in the International style, with dark-tinted windows set into precast concrete frames. The frames project from the giving the building a distinctive grid pattern. Mechanical equipment is located on floors 8 and 27th floors, floor 27 is double-height and enclosed by a wall recessed from the grid to create a colonnade which is illuminated at night. The buildings address 211 is displayed along the roof line and this replaced earlier signs for Detroit Bank and Trust and Comerica. On the eighth floor, louvers replace glass in the concrete frames giving an appearance to the façade from floors 2 through 26. The two-story lobby is enclosed by glass and is recessed on the north, elevator banks and other interior walls are covered by black granite and floors are travertine. The site slopes from north to south allowing for a service entrance, list of tallest buildings in Detroit Sharoff, Robert. 211 West Fort Street official site Google Maps location of 211 West Fort Street 211 West Fort Street at Emporis. com SkyscraperPage. coms Profile on 211 West Fort Street

132.
Westin Book Cadillac Hotel
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The Westin Book Cadillac Detroit is a historic skyscraper hotel located at 1114 Washington Boulevard in Downtown Detroit, Michigan, within the Washington Boulevard Historic District. Designed in the Neo-Renaissance style, and constructed as the Book-Cadillac, it is part of Westin Hotels and embodies Neo-Classical elements and building sculpture, incorporating brick and limestone. The flagship hotel is 349 ft tall with 31 floors, and includes 67 exclusive luxury condominiums and it reopened in October 2008 after completing a $200-million reconstruction project and contains the Roast restaurant and 24 Grille. The hotel was developed by the Book Brothers—J, the brothers sought to turn Detroits Washington Boulevard into the Fifth Avenue of the West. Part of that vision was the creation of a luxury hotel to compete against the Detroit Statler Hotel three blocks to the north. They commissioned architect Louis Kamper, who designed their Book Building in 1917, in 1917, the brothers bought the old Cadillac Hotel at the northeast corner of Michigan and Washington Blvd. but World War I material shortages delayed the start of work on their new hotel. Construction finally began in 1923, and the building, which part of the name of the old structure, was the tallest in the city. The hotel cost $14 million to build and contained 1,136 guest rooms, public spaces on the first five floors included three dining rooms, three ballrooms, a spacious lobby, and a ground floor retail arcade. On the hotels top floor was radio station WCX, the predecessor to WJR, the hotel operated successfully until the Great Depression, when banks foreclosed and the Book brothers lost control in 1931. For much of the period after the Books lost ownership, the hotel was run by industry pioneer Ralph Hitzs National Hotel Management Company. In 1951, Sheraton bought the hotel, renamed it the Sheraton-Cadillac Hotel, all public spaces except the ballrooms and Italian Garden were redone and escalators replaced the grand staircase. In 1975, with business declining and the hotel in need of renovation, Sheraton sold the building to Herbert R. Weissberg. Ownership changed again in 1976, and it became the Radisson-Cadillac Hotel, in 1979 the Radisson chain sold the property, and it became the Book-Cadillac once again. Though it had considered the citys top hotel for many years. By 1983, it was decided that the way to bring the hotel back to profitability was to convert it into a mixed-use property. The hotels 1100 rooms were deemed too numerous to fill and were too small by modern standards, the plan would turn the building into the Book-Cadillac Plaza, a 12 floor, 550-room hotel and 11 floors of office space. The hotel closed its doors in October 1984 for the renovation, but those plans were dashed as proposed construction cost soared. For the next two years developers came and went, but with no one able to take on the increasingly complex renovation, in 1986 the contents were liquidated

133.
First National Building
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The First National Building is a skyscraper and class-A office center in Downtown Detroit, Michigan, within the Detroit Financial District. The building is located across the streets from Cadillac Tower and One Detroit Center, built between 1921 and 1930, the building rises 26 stories and includes two basement levels, occupying an entire block along Cadillac Square. The structure has an unusual Z shape, designed so that most offices would have natural light, the building, designed by Albert Kahn in the Neoclassical architectural style, was constructed primarily with limestone. Three-story Corinthian columns surround the building at the second floor, the space behind the columns originally housed the main banking hall, however, this space was divided for offices during a renovation. The building also houses a garage in the South East tower. The original cornice was removed in the late 1970s, and the parapet of the building covered with corrugated aluminum, the first floor of the building houses retail space, while the upper floors were designed as commercial offices. List of tallest buildings in Detroit Hill, Eric J. John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. First National Building official site First National Building at Emporis. com

First National Building
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First National Building
First National Building
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View looking east across Woodward Avenue; the Mabley and Company Buildings and Vinton Building are at the right
First National Building
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View from Campus Martius
First National Building
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View from Campus Martius at night

134.
Cadillac Centre
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Cadillac Centre was a proposed contemporary complex to be constructed in downtown Detroit, Michigan on the Monroe block of Campus Martius. Expected to cost $150-million, the development called for two 24-story towers to rise from a 12-story base which would connect to the 40-story Cadillac Tower. The upscale residential high-rise was slated to include a retail and entertainment complex, failing to meet the standards of the DEGC, the project was put on hold indefinitely. Anthony Caradonnas steel-glass design for Cadillac Centre, reminiscent of the Guggenheim Museum Bilbao, was slated to face Campus Martius Park, developer Northern Group was the then owner of Detroits Penobscot Building, First National Building, and Cadillac Tower. The existing Gothic-Revival Cadillac Tower would have connected with and incorporated the new Cadillac Centre, the futuristic Cadillac Centre would have been constructed on Detroits historic Monroe block, once a collection of eight antebellum commercial buildings demolished in 1989. He is a graduate of the Pratt Institute and the Harvard University Graduate School of Design and his recent projects include the Hotel Duomo in Molfetta, Italy and the Bar Solex in New York City He earned a medal of merit from the American Institute of Architects in 1986. Cadillac Tower Campus Martius Park Hill, Eric J. John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. Northern Group Inc. corporate website Northern Group Inc

135.
1001 Woodward
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1001 Woodward is an office building in Downtown Detroit, Michigan. It replaced the Majestic Building, a 14-story high rise on the same site, the building is located just south of the neighboring David Stott Building, at the corner of Woodward Avenue and Michigan Avenue overlooking Campus Martius Park. Constructed from 1963 to 1965, the 25-story building is designed in the International Style and it was listed on the National Register of Historic Places in 2013. The building occupies the site of the Majestic Building, which was demolished in 1962 to make way for 1001 Woodward and it was constructed between 1963 and 1965 to house headquarters for First Federal Savings and Loan of Detroit, and was known as the First Federal Building. By January 1998, the Savings and Loan was part of Charter One Financial, in December of that year, it was purchased by a partnership of The Carpenters Pension Trust Fund-Detroit & Vicinity and the Operating Engineers Local 324 Pension Fund for $6.5 million. As part of the sale, Charter One leased the ground floor, the Michigan Court of Appeals occupied two floors under a lease which ended in 2001. The court relocated to Cadillac Place with several other State of Michigan offices, in March 1999, the pension fund partnership announced a $15 million renovation of the building and a new name, Woodward Plaza. They also planned to convert the upper floors to luxury condominiums, the pension fund partnership sold the building to Sky Development in April 1994 after spending $20 million on renovations. Sky Development also purchased an adjacent parcel behind the building to construct a parking garage, the building and adjacent parking garage were subsequently purchased by Greektown business owner Dimitrios Papas in January 2008 and renovations were completed. In May 2010, GalaxE Solutions systems signed a lease for 28,000 square feet bringing the occupancy to 25 percent, in September 2010, GalaxE leased an additional 12,000 square feet. In March 2013, Rock Ventures, the company of Dan Gilberts business including Quicken Loans. Quicken Loans subsequently moved its mortgage servicing group into the top four floors, the building was listed on the National Register of Historic Places on December 11,2013. It was nominated under Criterion A for its role in a 1950–1960s building boom, the building was designed by Smith, Hinchman & Grylls in the International Style. The exterior façade is composed of tinted windows set precast frames covered with charcoal-gray granite, the frames project from the façade creating a grid design similar to nearby 211 West Fort Street. The structure is composed of two towers set at a right-angle and joined by an elevator-utility core covered in glass. This arrangement of the help it make the best use of its irregularly shaped lot. Floors 24 and 25 house mechanical equipment and the ground floor originally housed a banking room. The floors and interior walls were originally faced with white marble

136.
Millender Center Apartments
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The Renaissance City Apartments is an upscale residential skyscraper located at 555 Brush Street in Downtown Detroit, Michigan. It is one of Detroits tallest residential buildings, standing at 33 floors and it was constructed in 1985 in the Modern architectural style adjacent to the similarly designed Courtyard by Marriott – Downtown Detroit. The residential apartments are connected by elevated enclosed skyways to the Renaissance Center, the Courtyard by Marriott Downtown Detroit, the high-rise apartments also contain a large parking garage. It was originally named after Robert L. Millender, Sr. an attorney, political activist and he encouraged and supported the candidacy of many in the African-American political community. They include former Michigan Secretary of State Richard H. Austin, Congressman John Conyers, several City of Detroit Council members, local judges, and several Wayne County Commissioners. In recognition of the historic contributions Robert Millender made to the City of Detroit, the Center complex includes an Office Center, the Courtyard by Marriott, the 33-story Renaissance City Apartments complex and a parking facility. Transportation is provided by the Detroit People Mover which has a station at the facility, the main lobby of the Renaissance City Apartments features an original portrait of Robert L. Millender Sr. which was painted by the distinguished Detroit artist, Carl Owens. This complex is linked to the city by skywalks and the People Mover, a large pottery mural can be seen inside the Renaissance City Apartments people mover station. It was designed by local African-American artist Alvin Loving, Jr and he is a nationally known painter and had worked at Detroit’s Pewabic Pottery, one of two active turn-of-the-century pottery studios in the country. List of tallest buildings in Detroit Hill, Eric J. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture

137.
Jeffersonian Apartments
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The Jeffersonian Apartments is a large apartment building at 9000 East Jefferson Avenue, on the near-east side of Detroit, Michigan. Built in 1965, primarily of glass and steel in the architecture style, it stands 30 stories. The site is close to the MacArthur Bridge and Belle Isle, as the building is situated on a steep slope, the Jefferson Avenue entrance is 17 feet higher than the back entrance along the Detroit River. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture, meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A. CS1 maint, Multiple names, authors list Jeffersonian Apartment details at Emporis. com SkyscraperPage. coms Profile on the Jeffersonian Apartments Jeffersonian Detroit Apartments Website

Jeffersonian Apartments
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Jeffersonian Apartments

138.
Coleman A. Young Municipal Center
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Young Municipal Center is a government office building and courthouse located at 2 Woodward Avenue in Downtown Detroit, Michigan. Originally called the City-County Building, it was renamed for the former Detroit Mayor Coleman A. Young and it serves as the City of Detroit government headquarters. Young Municipal Center houses offices, courtrooms, and meeting rooms, the class-A office building stands near the Renaissance Center, Hart Plaza, One Detroit Center, Courtyard by Marriott - Downtown Detroit, and the Millender Center. The modernist International-style building was designed by the firm of Harley, Ellington. Construction began on the skyscraper in 1951 and was completed in 1954 and it is 20 floors tall, and including the basement has 21 total floors. Three sides of the exterior are faced with white Vermont marble with black marble spandrel panels beneath the windows of the Courts Tower to emphasize the buildings vertical lines. The brick of the Randolph Street facade was not covered with marble to allow for a more economical future expansion, Administration Tower The 14-story portion of this complex is called the Administration Tower and is 197 ft tall, from the ground to the mechanical penthouse roof parapet. Courts Tower The 20-story portion of this complex is called the Courts Tower and is 318 ft tall. It contains office space on floors 1 through 8, and courtrooms, judges chambers, a marble wall element rises 43.5 feet high stands 17 feet west of the Courts Tower, and is connected to the tower by a canopy that forms the Woodward Avenue entrance. Bas reliefs of the Detroit and Wayne County seals are carved in the wall, along with a quote from the Bible Now the Lord is that Spirit, and where the Spirit of the Lord is, there is liberty. The Spirit of Detroit, a 25 feet tall bronze statue by sculptor Marshall Fredericks, is located at the Courts Towers marble wall element. As one of Detroits most easily identifiable landmarks, a sketch of the statue appears as the element of most of the logos of Detroits city departments. When Detroit sports teams have been in contention for their leagues championship, an enclosed skyway over Randolph Street connects to the Millender Center, Courtyard by Marriott - Downtown Detroit, and the Renaissance Center as a sort of enclosed city within a city. Entrance from the walkway to the third-floor level requires a security pass, Young Municipal Center is operated by the Detroit-Wayne Joint Building Authority, which was created in 1948 by the Michigan Legislature. The building contains a library, a courthouse, and the city hall, when it opened, the City-County Building replaced both the historic Detroit City Hall and Wayne County Building. Many Wayne County offices have moved to the nearby Guardian Building which now serves as the countys headquarters. The offices of the Wayne County Clerk remain in the building as one division of the Wayne County Circuit Court, Circuit Court Administrative Offices. On June 28,2008, the Coleman A, Young Municipal Center was struck by lightning during a series of intense thunderstorms, and caused a transformer fire within the building

139.
Riverfront Condominiums Detroit
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Riverfront Towers is an apartment and condominium complex of three luxury high rise residential skyscrapers along the International Riverfront in Detroit, Michigan, United States. Each Riverfront Tower creates an ascending tier of three towers, the three buildings are examples of modern architecture. Towers one and two are apartments, Tower three contains condominiums, Riverfront Tower 100 is a 275 unit high rise at 100 Riverfront Drive built in 1991 and finished in 1992. Riverfront Tower 200 is a 280 unit skyscraper at 200 Riverfront Drive built in 1982, Riverfront Tower 300 is a 295 unit skyscraper at 300 Riverfront Drive built in 1982 and finished in 1983. Residents are zoned to Detroit Public Schools, residents are zoned to Owen Academy at Pelham and King High School. Alden Park Towers International Riverfront Hill, Eric J. & John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert

140.
Water Board Building
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The Water Board Building is a high-rise office building located at 735 Randolph Street in downtown Detroit, Michigan. It was constructed in 1928 and stands at 23 stories tall and it was designed by Louis Kamper in the Art Deco architectural style, and its materials include granite, limestone, marble, and terra cotta. The Water Board Building is triangular in shape, for its plot of land, occupying the entire block formed by Randolph, Farmer. The buildings site was part of East Grand Circus Park as designated in 1806. The site was rezoned in 1886, when part of the land home to the Metropolitan Police Commission. The building is composed of a five-story base topped by 15 more floors of office space and it was originally planned to be only 14 floors in height, but because of the high land value of the site, the height was increased. The building was completed in seven months by a young A. Z, kutsche & Co. upon its completion, the Water Commission only occupied the first eight floors of the building, with the other city departments filling up the remaining floors. The Water Board Commission became the tenant in the 1990s. The exterior of the penthouse is actually painted terra cotta, with the rest of the building is faced in Bedford limestone, the base also includes marble and bands of pink and grey granite. Louis Grell painted a large Neptune and Detroit history mural on the ceiling in the grand lobby, hill, Eric J. & John Gallagher. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture, meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A. CS1 maint, Multiple names, authors list Sharoff, Robert, historic Detroit — Water Board Building Water Board Building at Emporis. com SkyscraperPage. coms Profile on the Water Board Building Louis Grell Foundation A. Z

Water Board Building
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Water Board Building
Water Board Building

141.
Detroit Riverside Hotel
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The Crowne Plaza Detroit Downtown Riverfront, is a 367-room, 25-story high-rise hotel opened in 1965 adjacent to Cobo Center in downtown Detroit, Michigan. The Plaza Land Company was established in 1955 to construct a hotel on a site adjacent to the planned Convention Hall. In 1956 they announced plans to partner with Conrad Hilton on a $24 million hotel, however the board of Hilton Hotels refused to ratify the deal in 1960, and the Plaza Land Company turned to Samuel and Aaron Gershensons Downtown Investment Company, which took over the project. The Pontchartrain was originally intended to have a tower, on the other side of the plot. The Hotel Pontchartrain was dedicated on July 24,1965, the 264th anniversary of the founding of Detroit and it was built on the site of Fort Pontchartrain, Detroits first permanent European settlement, built in 1701, which later became known as Fort Detroit. The hotel is named for the fort and for an earlier Hotel Pontchartrain, george H. W. Bush stayed at the hotel during the 1980 Republican National Convention. In 1985, the Hotel Pontchartrain was purchased by Crescent Hotel Group, the sale was financed by a series of ethically questionable loans from Lincoln and its subsidiaries and totaled $38 million. This arrangement was later cited by Sen. Donald W. Riegle as his basis for considering Keating a constituent during his involvement in the Keating Five scandal, on March 30,2001, it reopened as the Crowne Plaza Detroit Pontchartrain, following a major renovation. In 2006, Shubh LLC purchased the hotel and it underwent a $35 million renovation, within a year, however, the hotel had its Sheraton branding taken away due to poor management and was renamed the Detroit Riverside Hotel. On June 26,2009, the Wayne County Circuit Court appointed David Findling of The Findling Law Firm, PLC, the hotel was formally shuttered in August 2009. The Detroit Metro Convention & Visitors Bureau reported that the purchaser was Mexico-based developer Gabriel Ruiz, the Hotel reopened on July 17,2013, as the Crowne Plaza Detroit Downtown Convention Center. Its name was slightly modified to Crowne Plaza Detroit Downtown Riverfront. Due to the quality of the renovation the hotel was awarded Development of the Year by IHG Intercontinental Hotel Group in their convention in Las Vegas in October 2013. Ruiz intends to reopen the iconic Top of the Pontch restaurant, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Official website Official chain website Detroit Riverside Hotel at Emporis. com SkyscraperPage. coms profile of Detroit Riverside Hotel

142.
Ford Building (Detroit)
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The Ford Building is a high-rise office building located at 615 Griswold Street in Downtown Detroit, Michigan. It stands at the northwest corner of Congress and Griswold Streets, the Penobscot Building abuts the building to the north, and the Guardian Building is southeast across Griswold Street. Designed by Daniel Burnham, construction began in 1907 and completed in 1908, the building celebrated its 100th year in 2009, and was one of the first to use a steel structural support system. It stands at 23 stories in height, with two basement floors,19 above-ground floors, and two penthouses. It held the title as tallest building in Detroit from 1908 until 1913, the Ford Buildings primary uses are for offices and retail. Burnham styled it with Neo-Classical and Neo-Renaissance elements and it is constructed with a steel skeleton faced with terra cotta tile and accented with white Italian marble. Burhams other remaining skyscraper designs in Detroit include the David Whitney Building, Ford Building Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A. CS1 maint, Multiple names, authors list Moore, Charles, Daniel H. Burnham, Architect, Planner of Cities, Volume 2. Detroit and Rome, building on the past, regents of the University of Michigan

Ford Building (Detroit)
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Ford Building

143.
Fyfe Building
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The Fyfe Building is located at 10 West Adams Street, at the corner of Adams Street and Woodward Avenue in Downtown Detroit, Michigan. It faces onto Central United Methodist Church, and Grand Circus Park, the high-rise building was constructed between 1916 and 1919, and is one of Detroits oldest, it was designed by Smith, Hinchman & Grylls in the Gothic Revival architectural style. It stands at 14 floors, and has 65 residential units, the building was named after Richard H. Fyfe, a Detroit merchant who made his fortune in the shoe trade. For many years it had a Fyfe shoe store at the street level and offices in the upper stories, at the time of its opening. The building is now used as a residential building, but has some retail. The building was demolished in the mid-1990s to make way for parking for Comerica Park. Owner, PEM Investments, LLC Hill, Eric J. John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A

Fyfe Building
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Fyfe Building
Fyfe Building
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Fyfe Building, c. 1920

144.
Grand Park Centre
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Nearby buildings and attractions are Grand Circus Park, Comerica Park, Ford Field, the Dime Building, and Campus Martius Park. The building is a part of the Michigan Mutual Liability Company Complex, the building is located in the Foxtown neighborhood of Detroit. Grand Park Centre was constructed in 1922 as an office building. It was originally constructed as the headquarters for Strohs Brewery Company, an artists rendering of the building, as it originally was designed, including the rooftop beer garden, hangs in the buildings management office. The first floor has limited space and the remaining floors are utilized as office space. The building had a cafeteria in the level, decorated with ornate plaster. The building was designed in the Chicago School architectural style with a steel, the non-load-bearing exterior walls consist of three wythes of brick masonry. ick. The east facade abuts a two-story building, at the same time, a nine-story Annex building, which contains one parking level and seven office floors above grade and two parking levels below grade, was added. The Annex is clad with brick masonry, the north and south facades have both original and replacement strip windows. The east and west facades are solid masonry, the Tower and Annex are connected by an enclosed walkway at floors three through ten. After being purchased by Capozzoli Advisory in 2000, the building was renovated at a cost of $7,000,000 by Barton Malow Company. Notes Bibliography Hill, Eric J. John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. Google Maps location of Grand Park Centre Grand Park Centre details at Emporis. com Michigan Mutual Liability Company Complex details at Emporis. com SkyscraperPage. coms Profile on Grand Park Centre

Grand Park Centre
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Grand Park Centre

145.
Compuware World Headquarters
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One Campus Martius is a building located in downtown Detroit, Michigan. It began construction in 2000, and finished in 2003 and it has 17 floors in total,15 above-ground, and 2 below-ground, and has 1,088,000 square feet of office space. The high-rise was built as a building, a restaurant, retail space for Compuware. The building now has Quicken Loans, Meridian Health, Plante Moran, the building was constructed in the late-modernist architectural style, using glass, granite, and limestone as its main materials. AIA Detroits Urban Priorities Committee rated the buildings entry as one of the top ten Detroit interiors, the building sits on the Kern Block which was once home to the Kern Department store. The store had existed in form or another on this site since 1900. The last incarnation of the store was demolished in 1966, Compuware moved its headquarters and 4,000 employees to a newly constructed building on the site in 2003. Quicken Loans agreed to a lease agreement to move its headquarters and 1,700 employees to the building in 2010. Plante Moran followed suit with an agreement in 2013, deciding to move 75 employees to the building. Compuwares presence in the building has lessened as it has downsized during the 2010s the company now has around 800 employees in the building, the building was sold in a joint venture to Dan Gilberts real estate group Bedrock Real Estate and Meridian Health for $142 Million in November 2014. Compuwares remaining employees will stay in the building, the headquarters facility, completed in 2002, has 16 floors and 1,088,000 square feet of space. The headquarters facility includes an on-site daycare, a 38,000 square feet fitness center, the lobby contains what is said to be the worlds tallest indoor water sculpture. This 3, 000-space parking structure stands 45-meter tall with 12-stories and this parking structure includes over 20,600 square feet of retail and office space on its first floor, and a 2, 891-square-foot daycare center on its second level. The Compuware Garage is home to the Cadillac Center Station on the Detroit People Mover route

146.
United Artists Theatre Building
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The United Artists Theatre Building is a vacant high-rise tower in downtown Detroit, Michigan, standing at 150 Bagley Avenue. It was built in 1928 and stands 18 stories tall, the building was designed by architect C. Howard Crane in the renaissance revival architectural style, and is made mainly of brick. Until December 29,1971, it was a movie house and office space, and then after that. The United Artists Theatre, designed in a Spanish-Gothic design, sat 2,070 people, after the theater closed, the office block struggled as tenants moved to suburbs. An original 10-story, vertical UA sign was replaced in the 1950s with a marquee that remained until 2005, the building once shared a lot with the now demolished Hotel Tuller. The old theater marquee was also removed, in 2006, Ilitch Holdings announced it would market the building. Hill, Eric J. & John Gallagher, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. United Artists Theatre at Buildings of Detroit recent image of the interior of the theatre

United Artists Theatre Building
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United Artists Theatre Building
United Artists Theatre Building
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Venues

147.
Cadillac Place
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Cadillac Place, formerly the General Motors Building, is a landmark high-rise office complex located at 3044 West Grand Boulevard in the New Center area of Detroit, Michigan. It was renamed for the French founder of Detroit, Antoine Laumet de La Mothe and it is a National Historic Landmark in Michigan, listed in 1985. After much pressure by the General Motors Board of Directors, William C. Durant agreed in 1919 to construct a permanent headquarters in Detroit for the company he formed in 1908. The corporation purchased the block between Cass and Second on West Grand Boulevard and removed the 48 structures from the site to begin work. Groundbreaking was held June 2,1919 and the Cass Avenue wing was ready for occupancy in November 1920 while the remainder of the building was under construction. The building was named for Durant, but an internal power struggle led to his ouster in 1921. However, the initial “D” had already been carved above the main entrance, the structure was completed in 1922, and served as General Motors world headquarters from 1923 until 2001. It is approximately 2 miles to the southeast of Detroit/Hamtramck Assembly, in 2001 GM moved the last of its employees into the Renaissance Center on the Detroit River. The Annex was constructed shortly after the building, and in the 1940s. A parking structure was constructed to the east across Cass Avenue, a third bridge was constructed across Grand Boulevard in the early 1980s, to connect the building with New Center One and the St. Regis Hotel. The building now houses several Government of Michigan agencies under a 20-year lease agreement approved in 1998, at the end of the lease, the State has the option to purchase the structure for $1. The buildings 2002 renovation to house State offices was one of the nations largest historic renovation projects, upon completion it was renamed Cadillac Place as a tribute to Detroits founder, Antoine Laumet de La Mothe, sieur de Cadillac. Cadillac Place currently houses over 2,000 State employees including the Michigan Court of Appeals for District I, the buildings former executive office suite serves as the Detroit office for Michigans governor and attorney general, and several Justices of the Michigan Supreme Court have offices in the building. Cadillac Place rises 15 stories to a height of 220 feet. It was originally constructed with 1,200,000 sq ft and expanded to 1,395,000 sq ft. Designated a National Historic Landmark on June 2,1978, it is an exquisite example of Neoclassical architecture. Designed by noted architect Albert Kahn, the structure consists of a base with four parallel 15-story wings connecting to a central perpendicular backbone. Kahn used this design to allow sunlight and natural ventilation to each of the buildings hundreds of individual offices. The entire building is faced in limestone and is crowned with a two-story Corinthian colonnade, in 1923, it opened as the second largest office building in the world

Cadillac Place
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Cadillac Place former General Motors Building
Cadillac Place
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Main entrance from West Grand Blvd.
Cadillac Place
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Interior shopping arcade
Cadillac Place
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Second Avenue facade

148.
MGM Grand Detroit
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The MGM Grand Detroit in Detroit, Michigan is one of three casino resort hotels in the city, and one of four in the Detroit–Windsor area. The luxury resort hotel opened on July 29,1999 with an event which included models and celebrities including Ashanti, Kid Rock. This is the first luxury resort hotel in a major metropolis outside of Las Vegas. Detroit is one of the largest American cities and metropolitan regions to offer casino resort hotels, MGM MIRAGE had several serious buyers for the MGM Grand Detroit, but ultimately sold the MotorCity Casino to Marian Ilitch. Lodge Freeway and Bagley Street, three to four blocks from the temporary casino, the facility has 30,000 square feet of meeting space for conferences and live performance seating for 1,200. The Casino is also rebuilding 3rd street into a two way boulevard to facilitate movement around the site. The permanent casino opened its doors to the public on October 3,2007, the grand opening celebration attracted Hollywood stars. A Celebrity Poker Match was taped there for a release at a later date. The MGM Grand Detroit stands across from the DTE Energy Headquarters which includes a reflecting pool, the lead architects were Paul Tonti of the SmithGroup and Thomas Sherry of Hamilton Anderson Associates. In 2007, DTE Energy announced a transformation of the area around its downtown headquarters into an urban oasis with parks, walkways. The metropolitan regions potential to attract super-sized crowds should not be underestimated, just across the river, Caesars Windsor attracts about six million visitors annually. More than fifteen million people cross the Ambassador Bridge and the Detroit-Windsor Tunnel annually, an estimated 46 million people live within a 300-mile radius of Metro Detroit. Greektown Casino Hotel Wikimedia graph of Detroits casino revenues Media related to MGM Grand Detroit at Wikimedia Commons Wikimedia graph of Detroits casino revenues

149.
MotorCity Casino Hotel
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MotorCity Casino Hotel is a casino and hotel in Detroit, Michigan. It is one of three hotels in the city, and one of four in the Detroit–Windsor area. The $825 million complex incorporates a building that once housed the Wagner Baking Company. Opened by Mandalay Resort Group, MotorCity Casino Hotel was purchased by Marian Ilitch of IH Gaming, Detroit is one of the largest American cities and metropolitan regions to offer casino resort hotels. Custom car designer and television personality Chip Foose was a member of the team and was instrumental in the property’s unique look. Foose’s influence is reflected strongly in the roof design, a 304-foot-long stainless steel undulating ribbon. Foose says it was inspired by the molding on a classic 1957 Chevrolet Bel Air. The roof ranges in height from 3.5 feet to 10 feet, the casino features over 100,000 square feet of gaming space that includes approximately 3,000 slot machines, approximately 59 table games, and two poker rooms. In a style referred to as “Future Retro, ” the end result is reminiscent of a giant custom car radiator, zebrawood, a rich wood often used in guitar construction, is incorporated into the hotel lobby and guestrooms. MotorCity Casino Hotel features a system that focuses on real-time customer interaction through custom flat-screen installations mounted above slot machines. Through the system, the casino is able to award instant bonuses to players on their birthday, notify winners of special promotions, with a capacity of 2,400, Sound Board is a performance venue, and Detroit’s only casino theater. The theater also hosts such as live boxing and major product launches. Opened in November 2007, MotorCity Casino Hotel has 400 rooms, the hotel has attained AAA Four Diamond status for many years. MotorCity offers a variety of dining options, located on the 16th floor, Iridescence is a restaurant serving Modern American cuisine. The casino buffet, the Assembly Line, offers nightly dinner themes such as French Night, German Night, Hawaiian Night, Soul Food Night, taste of The D Night, the Lodge Diner offers comfort food like chicken and waffles and pot roast. Grand River Deli & Burgers features sandwiches, burgers, salads, detroit-based pizza chain Little Caesars has an outlet in the building. Over 13,000 square feet, D. Tour offers men’s and women’s lounges, thermal whirlpools, steam rooms, there are 10 private treatment rooms and a two-room couple’s suite. Spa treatments include facials, massages, and the MotorCity Mud Bar, the spa is accompanied by a 24-hour fitness center outfitted with Precor cardio and weight equipment

MotorCity Casino Hotel
MotorCity Casino Hotel
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Chrome panels accent original tile work on the Grand River façade
MotorCity Casino Hotel
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Casino details designed to resemble a classic 1950s tailfin -style car
MotorCity Casino Hotel
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Looking southwest with casino on the left and the high-rise hotel addition to the right

150.
Kales Building
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The Kales Building is a high-rise apartment building in downtown Detroit, Michigan. It is located 76 West Adams at the northeast corner of Adams Avenue West and Park Avenue, across from Grand Circus Park, in the Foxtown neighborhood, just north of Downtown. The building was designed by Albert Kahn and constructed in 1914 and it was originally named the Kresge Building and it was given its current name in 1930. When completed in 1914, the Kales Building housed the headquarters of the Kresge Corporation, the Kresge Corporation only occupied 9 of the 18 floors. The rest of the floors was leased out to doctors and dentists, the Kresge Company moved out of the building in 1930 for a new headquarters at Cass Park and the old headquarters remained a prime location for medical offices. The last tenant moved out of the building in 1986 and it sat vacant until its restoration in 2004, in the 1990s, plans were brought up for two new sports stadiums on the west side of Woodward. Demolition of the Kales Building was considered to make space for parking, the buildings future was put in limbo when the proposed stadiums were shifted to the opposite side of Woodward. Then the city requested the Greater Downtown Partnership to try to sell the property to developers, during the summer of 1999 the GDP held request for proposals for the Kales and the nearby Statler Hotel to attract bids from developers planning to redevelop the building into loft apartments. The renovation was announced thereafter and initial work began in 2000. The Kales Building was renovated in 2003-2004 into 117 residential units with ground-level retail, AIA Detroit, The American Institute of Architects Guide to Detroit Architecture. Meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, cS1 maint, Multiple names, authors list Sharoff, Robert. The Kales Building SkyscraperPage. coms profile on Kales Building

Kales Building
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Kales Building

151.
United Way Community Services Building
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The 48.77 m 12-story building was designed by architects Spier & Rohns and was the tallest in the state when built. The lower two floors are faced with a rusticated stone with the main entry centered on the south façade. Floors three through five are smooth stone and floors six through twelve are tan brick, the structure originally had an elaborate cornice surrounding the twelfth floor which was removed in the 1950s. The light court which extended from the fifth to twelfth floor above the entry was filled in 1988 and faced with glass and a gabled glass roof to provide additional office space. The building was owned and occupied by the United Way for Southeastern Michigan from 1987 to 2009, the citys redevelopment agency purchased it from United way for $1.75 million. For many years prior to 1987, it was known as the Detroit Savings Bank Building and contained offices for the Detroit Savings Bank, the 10-story Hammond Building, now demolished, is considered the citys first skyscraper. The Qube in the Detroit Financial District now stands on former Hammond Building site, after renovations were completed, the chancery and other components moved into the lower six floors of the structure in early 2015, with residences on the upper floors. Part of the renovations included re-creating a cornice at the top of the façade, richard Karp, whose company oversaw the renovations, said he also plans to restore the name of the Detroit Savings Bank Building. Media related to United Way Community Services Building at Wikimedia Commons

United Way Community Services Building
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United Way Community Services Building
United Way Community Services Building
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The building during construction c.1893
United Way Community Services Building
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Clock at Griswold and State Streets, July 1942

152.
Vinton Building
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The Vinton Building is a residential high-rise located at 600 Woodward Avenue in Downtown Detroit, Michigan. It stands next to the First National Building, across Woodward Avenue from Chase Tower and the Guardian Building and it was designated a Michigan State Historic Site in 1982 and listed on the National Register of Historic Places in 1983. The building, designed by Albert Kahn and constructed in 1916 and its primary uses are for offices and retail. The building was constructed in the architectural style, and contains mainly terra cotta as its main material. It features a parapet wall on the front façade, reminiscent of classical temples. The Vinton underwent a reconstruction in 2006, turning the building into a loft building, the renovation included commercial space on the first two floors, and one loft on each of the additional ten floors. As of 2010, renovation has stalled and the building has yet to open, hill, Eric J. & John Gallagher. AIA Detroit, The American Institute of Architects Guide to Detroit Architecture, meyer, Katherine Mattingly and Martin C. P. McElroy with Introduction by W. Hawkins Ferry, Hon A. I. A. CS1 maint, Multiple names, authors list Sharoff, Robert

Vinton Building
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Vinton Building
Vinton Building
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The Vinton Building at bottom right, next to the First National Building
Vinton Building
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Vinton Building, c. 1922

153.
Theodore Levin United States Courthouse
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The Theodore Levin United States Courthouse is a large high-rise courthouse and office building located at 231 West Lafayette Boulevard in downtown Detroit, Michigan. The structure occupies a block, girdled by Shelby Street, Washington Boulevard, West Fort Street. The building is named after the late Theodore Levin, a lawyer, construction began in 1932 and finished in 1934. It stands at 10 stories in height, with its top floor at 50 metres from the first floor entrance, with the roof being 56.1 metres, or 184 feet in height from the top of the roof to the streets below. The building was designed in the Art Deco and art styles of architecture, incorporating granite. The main façade is limestone, above a black stone. Inside the building, there is an open-center court above the second floor, the building contains relief sculptures of eagles and emblems above the entrance, which symbolize the buildings governmental function. The seventh floor contains the decorated, Romanesque style Chief Judges Courtroom. At the request of Chief Judge Arthur Tuttle, the courtroom from the building was disassembled and stored during construction. Before the courthouse was constructed in 1932, the site was the home of Fort Lernoult. Post Office, Courthouse and Custom House, the old, original Detroit Customs House and Federal Court building was located on the northwest corner of Griswold and Larned Streets. It was a three-story Renaissance Revival style structure completed in 1861 for $162,000, the old Customs House was finally demolished in 1964, and the site is now a parking garage. In the 1880s, plans were developed to demolish the old 1861 Customs House and construct a new, however, public objections and ground soil conditions forced the government to select a new site. The block bounded by Lafayette Boulevard, Fort Street, Wayne Street, excavation for the new Post Office and Courthouse began in June 1890 and the building was occupied in late 1897. The massive rock-faced ashlar granite building was designed by Philadelphia architect James H. Windrim, a soaring clock tower with a tiled pyramid roof dominated the Fort Street facade. Federal authorization and planning for the present building occurred during the presidency of Herbert Hoover, Courthouse was designed Robert O. Derrick, under the auspices of James A. Wetmore, Acting Supervising Architect for the Department of the Treasury. The buildings overall impression is one of Neo-Classical Revival with Modernistic traits, demolition of the 1897 building began in late 1931. Construction began in October 1932 and the building opened in April 23,1934

Theodore Levin United States Courthouse
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Theodore Levin United States Courthouse
Theodore Levin United States Courthouse
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The 1896 Detroit Post Office shortly after completion

154.
New Center, Detroit
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New Center, and the surrounding areas north of I-94, are often referred to simply as the North End. The heart of New Center was developed in the 1920s as a hub that would offer convenient access to both downtown resources and outlying factories. Some historians believe that New Center may be the original edge city—a sub-center remote from, but related to, the descriptor New Center derived its name from the New Center News, an automotive-focused free newspaper begun in 1933 that continues to operate under the name Detroit Auto Scene. Both Cadillac Place and the Fisher Building are National Historic Landmarks, in 1891, Detroit mayor Hazen S. Pingree broke ground on the construction of Grand Boulevard, a ring road that wrapped around the city of Detroit. The Boulevard ran for 12 miles, curving from the Detroit River on the west to the river on the east, in the 1890s, major railroad infrastructure known as the Milwaukee Junction was built just south of Grand Boulevard to facilitate industrial expansion in the city of Detroit. To take advantage of the line, industrial plants were built in this area on both sides of Woodward Avenue, with the automotive industry prominently involved. Part of this area east of Woodward is now the Piquette Avenue Industrial Historic District, while the area west of Woodward and south of the railroad tracks is the New Amsterdam Historic District. Most notably, in 1904, Burroughs Adding Machine Company built a factory on Third. In 1915, Henry Ford bought the financially struggling Detroit General Hospital and its lands on Grand Boulevard and Hamilton, soon after, Ford broke ground on a 50, 000-square-foot facility at the same location, the larger hospital opened in 1921. In the late 1910s and early 1920s, the industry in Detroit grew rapidly. The economic surge made land in downtown Detroit difficult to obtain, the lack of suitable parcels frustrated William C. Durant in his search for the optimum location for his planned General Motors headquarters. Durant looked to the north, and settled on a location just west of Woodward Avenue on Grand Boulevard, at the time, the area was a residential district of private homes and small apartment buildings. Durant hired Albert Kahn to design his building, and ground was broken in 1919, as General Motors continued to grow, the company required more space. In the later 1920s, they built a building, the General Motors Research Laboratory, also designed by Kahn. The building was built in two phases, and was completed in 1930, around the same time, the Fisher Brothers of Fisher Body followed General Motors to the area. They broke ground on their eponymous Fisher Building in 1927, located across Grand Boulevard from the General Motors Building, the Fisher Brothers also hired Kahn, and spared no expense to construct their headquarters building. The followed this up with the construction of New Center Building, the Great Depression, however, forced the Fishers to break off their plans to construct a complex of buildings in New Center, including a grandiose three-towered version of the Fisher building. In 1940 Saks Fifth Avenue opened their fourth full-line department store in this building, the store closed in 1978 and relocated to Fairlane Town Center in Dearborn

New Center, Detroit
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Grand Boulevard looking west through New Center. The National Historic Landmarks Cadillac Place (left) and the Fisher Building in the background, with the Hotel St. Regis on the right
New Center, Detroit
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Streetscape on Cass, looking north, in the New Amsterdam Historic District
New Center, Detroit
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The Fisher Building, which has the headquarters of Detroit Public Schools
New Center, Detroit
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Woodward Avenue looking north past Grand Boulevard

155.
Henry Ford Hospital
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Henry Ford Hospital is an 802-bed tertiary care hospital, education and research complex at the western edge of the New Center area in Detroit, Michigan. The flagship facility for the Henry Ford Health System, it is one of the first hospitals in the United States to use a fee schedule. It also is the first hospital in the country to form a closed, salaried medical staff, as founder Henry Ford viewed tobacco as being unhealthy, the hospital was one of the first hospitals in the United States to institute a total ban on smoking. Henry Ford Hospital is staffed by the Henry Ford Medical Group, Henry Ford Hospital annually trains more than 500 residents and 125 fellows in 46 accredited programs. More than 400 medical students train at the hospital each academic year, the Detroit hospital and campus is led by president and CEO, doctor of medicine, John Popovich, Jr. Henry Ford Hospital is an 802-bed hospital located in Detroit’s New Center area. The hospital is staffed by the 1,200 physicians and scientists in the Henry Ford Medical Group, the model for the Henry Ford Medical Group is the same model used at the Mayo Clinic, Johns Hopkins Hospital and the Cleveland Clinic. Henry Ford Hospital operates a Level 1 Trauma Center and has one of the busiest emergency rooms in Michigan, Henry Ford Hospital performs organ transplants in many areas, including heart, lung, kidney, bone marrow, pancreas and liver. Henry Ford Hospitals Vattikuti Urology Institute operates the largest robotic prostatectomy program in the world, the robotic prostate surgery was created at Henry Ford and more than 5,000 men have has successful robotic prostate surgery. In 2009, Henry Ford Hospital opened 24 new private intensive care rooms, bringing its total to 156 intensive care rooms at the Detroit campus, the opening of the new floor is the final piece of a two-story, $35 million addition at the hospital. Henry Ford has a robust medical education program, where more than 500 residents in 40 specialties train every day, one-third of all physicians in Michigan receive training at Henry Ford, and its post-graduate medical education enterprise is among the largest in the country. Research programs at Henry Ford Hospital have total annual funding exceeding $70 million, the National Institutes of Health is the primary funding source for Henry Fords research programs. Much of Henry Ford Hospital research is translational in nature - from bench to bedside, to this end, basic science studies run the gamut from whole animal physiology to cell and molecular biology to bioengineering with an emphasis on studies that can directly impact patient care. In 2009, Henry Ford researchers published more than 450 articles in peer-reviewed medical journals, Henry Ford Hospital is part of the Henry Ford Health System, one of the countrys largest health care systems and a national leader in clinical care, research and education. It includes the 1, 200-member Henry Ford Medical Group, five hospitals, in 2009 alone, Henry Ford provided more than $173 million in uncompensated care. The health system plans to invest $500 million to expand the Henry Ford Hospital in Detroit, the system is governed by a board of trustees. Advisory and affiliate boards include 150 volunteer leaders, who provide vital links to the served by the System. Henry Ford is managed by President and Chief Executive Officer Nancy Schlichting, more than 23,000 total Henry Ford Health System employees provide care during the more than 3.1 million annual patient contacts. Henry Ford health care providers perform more than 81,000 ambulatory surgery procedures each year, more than 102,000 patients are admitted to Henry Ford’s six hospitals annually

156.
Lafayette Park, Detroit
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Lafayette Park is a historic urban renewal district east of Downtown Detroit and contains the largest collection of residential buildings designed by Ludwig Mies van der Rohe. The northern section planned and partially built by Mies is listed in the National Register of Historic Places, in 2015 it was designated a National Historic Landmark District. Lafayette Park is located on the lower east side directly south of the Eastern Market Historic District. Lafayette Park is principally composed of two superblocks that combine low- and high-density housing in the manner favored by the Federal Housing Administration following World War II. The first phase, formerly known as the Gratiot Redevelopment, was bounded by Hastings Avenue, Gratiot Avenue, Orleans Street, a greenway runs through the center of the entire development, beginning at Gratiot and continuing to the two blocks to the South. This is known as Lafayatte Plaisance, Lafayette Central Park, from 1960 onward, both of the superblocks are known as simply Lafayette Park. The development also borders on the Dequindre Cut Greenway, a rail-to-trail redevelopment following below Orleans Street, although Lafayette Park is most commonly identified with Mies van der Rohe, Gunnar Birkerts and John Macsai played significant roles in the south half of the neighborhood. Several factors came together to create the urban renewal zone that later became Lafayette Park, second, Detroit had been completely built out and lacked land that could be developed, which limited property tax recoveries. Finally, Walter Reuther of the United Auto Workers had made the development of housing a priority. The zone, long named for its rich black topsoil, had previously inhabited by various immigrant groups over the ages. Beginning in 1948, the Citizens Redevelopment Corporation was formed and began to acquire, many of the original residents were relocated to the north and west. By the end of the acquisitions, in 1967,78 acres had been cleared. The success of the project in increasing tax revenue was such that the city engaged a similar program in Corktown, following Word War II, the FHA favored mixed site plans including both high-rises and garden-style apartments or townhouses. This was a feature of redevelopment projects in cities, including in San Francisco. Initially, Minoru Yamasaki, Victor Gruen, and Oscar Stonorov were commissioned to create a site plan and their initial design, sited in the Gratiot Redevelopment involved 20 high-rise towers, some of square proportion and some rectangular, along with several dozen townhouses. The latter were notable for being clustered in a checkerboard pattern, ultimately, the project could not find funding as mixed-income housing, and the original plan was not realized. In 1956, when the project had been a field for several years, Herbert Greenwald. He conditioned his participation on using Ludwig Mies van der Rohe as the principal architect, at the time, Mies was an architecture professor at, and the principal designer of buildings for, the Illinois Institute of Technology

157.
The Whittier (Detroit, Michigan)
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The Whittier is a partially renovated high rise residential complex and former hotel located at 415 Burns Drive in Detroit, Michigan, on the Detroit River. It was listed on the National Register of Historic Places in 1985, the Whittier was constructed as an apartment hotel, meaning that tenants could rent an apartment, yet have access to services typically provided by a hotel. The Whittier was built at a time when the boom in Detroit increased demand for housing. The developer selected a site near the Detroit River, in an area that was, until then, construction began in 1921, and ran until 1927. Over the years, the hotel played host to luminaries such as Horace Dodge, Eleanor Roosevelt, Mae West, Frank Sinatra. During Prohibition, the convenient access to the Detroit River and Canada made it popular with underworld types. The hotel changed hands many times, and was occupied until 2000 or 2001, in June 2003, the building was purchased by Phoenix Communities, who refurbished the eight-story section into a senior citizens living center, known as the Whittier Manor. Renovation of the tower has recently come to a deadlock. Agree designed the Whittier Hotel, it was the first of several luxury hotels designed by the architect. Due to the soft, marshy ground, Agree used a foundation to support the hotel. The complex actually consists of two structures, an eight-story building to the north, and a larger fifteen-story Italian Renaissance style tower to the south. The eight-story northern building is constructed from red brick and has regularly spaced windows, the first and second stories are faced with smooth stone, and feature a classical arcade. This building originally contained 184 units, and was completed in 1922, the fifteen-story southern building was completed in 1926. It is basically Italian Renaissance in style, and is built from brick with terra cotta trim in the upper floors. A modern entrance of a story in height has been recently removed. Both buildings are notable for the quality of the interior and exterior finishes